archiv* für produkt und nichtprodukt by Minoru Matsui

archiv 4 f체r produkt und nichtprodukt

portfolio matsui minoru chiba universit채t

004

archiv*

für produkt und nichtprodukt

preface

this is the fourth attempt to bundle the overarching achievements i have gained through my academic experience. with a borrowed title “archiv* für Product und Nichtprodukt” from raster-noton, one of the most influential german noise-electronica labels raster-noton’s copy “Archiv für Ton und Nichtton”, here i contrast my produktive, pragmatic designs and my non[nicht]produktive, ideal designs both compressed via photographs, CAD drawings, hand drawings, messy typographies, rendered perspectives, txts, and any other media in it. a txt is a line. a typography is a drawing. a book is an architecture. a portfolio consists of typographies consists of txts eventually provides a space inbetween that guides you in why is this portfolio partly in english? the answer is simple. it is because english is the strongest language in the world. there is no need for a portfolio only written in japanese, because any contemporary designers on is destined to be involved in international design works. japanese is optional: i would like to thank my mother and father (again) for supporting any kinds of thoughtless ideas. they are the desginers that created me, and thus

005

archiv*

006

f端r produkt und nichtprodukt

archiv*

table of contents

fĂźr produkt und nichtprodukt

category

year

_architecture

UG 3

sponge condo

a condominium

046

UG 4

keio waldorf schule

a K-12 school

014

strata

a complex

058

rhizome

a house

030

_landscape

the new oceanfront

a diagram and thoughts

090

_product

curureversi

reversi

042

_service

hwisprian

voice user interface

034

miracle renovation project

a renovation project for chiba university farm stand

050

_bibliography

UG 4

rudolf steinerâ&#x20AC;&#x2122;s design methods and principles for manufacturers

graduation thesis

142

_graphic

typography automata

typography

012

barcoded

coding algorithm for business card

114

quadtreeness

adoptation of mathematic method to typography

116

MRI of the skull

my brain as one and only resource of me

134

meshed me marc mentat makes

meshed typography w/ FEM

130

_workshop

TAiK + chiba

photographs

102

_webs

ruriko.jpn.ph

branding

094

007

version: v4 author: minoru matsui published by minoru matsui © 2012 all rights reserved. unauthorized copying, hiring, lending, public performance, and broadcasting prohibited. any violation, including any illegal uploading on the internet via file sharing networks and/or so called one-click-hosters, will be subject to prosecution under civil and criminal law. first release: september 2011 latest release: january 2012 pdf 6.0/ 131 pages / 297 × 420 × 0mm Created: 11/12/29 Last modified: 2012年January23日 PM3時39分

arch iv für

0 v.4

pro dukt

nicht

und

pro dukt 009

archiv*

worldmap

für produkt und nichtprodukt

1 0

03 01 02

-01 00 01 02 03 04 KURASHIKI, HIDA, TSUKUBA, IBAGIFU RAKI

PALO ALTO, CA

WEST MEDFORD, MA

LOS ALTOS, CA

CANBERRA,AUST

is where i was born and my parents were grown

is where i live. AIST, where my father being a researcher in, is located in tsukuba. the compulsory schools were far from ideal, but the students are the exception, for almost everyone of them are the children of researcher of those labs in the city

is where i lived for a year from 1991. Aug-1992.Aug. my father let us go to steiner school while he was a visiting research fellow in stanford university. because i was just three years old, i have almost no memory

is where we lived three months from 1994. Aug. this time near MIT. met rodney brooks. he was left-handed. went to a steiner school

is where we lived three months from 1995. Oct. stanford again

is where we lived one month from 1999. Aug. went to an elementary school for children of immigrant and met various peoples

うまれたところ．両親の故郷

すんでいるところ．父の勤め先である AIST がある．小中学校は理想とは程遠かったが研究者の子息ばかりで友人に恵まれた

パロアルト，カリフォルニア 1991 年から 1 年間すんだところ．父が幼い子ども 3 人と母を連れてスタンフォードの客員研究員をつとめる．3 歳，ほとんど記憶なしシュタイナー幼稚園に行っていたらしい．紋様は魚

ウェストメッドフォード，マサチューセッツ州 1994 年 8 月から 3 ヶ月すごしたところ．今度は MIT. 少し記憶がある．ロドニー・ブルックスに会う．左利きだった．シュタイナー学校に通う

ロスアルトス，カリフォルニア 1995 10 月から 3 ヶ月すごしたところ．またスタンフォード．シュタイナー学校に通う

キャンベラ，オーストラリア 1999 8 月から 1 ヶ月すごしたところ．移民の学校に通う．様々な国の人に出会う．南半球の気候に翻弄される

010

archiv*

10 09 08 05

worldmap

für produkt und nichtprodukt

00 -01 06 07 04

05 06 07 08 09 10 MOSTAR, BOSNA CUHK, HONG KONG i HERCEGOVINA

NUS, SINGAPORE

BARI, ALBEROἘλευθέριος Βενιζέλος,Αθήνα, BELLO, NAPOLI, Κόρινθος, Πάτρα, MILANO, ITALIA. Ελλάδα

TAiK, AALTO, HELSINKI, FINLAND

is where my supervisor in keio university, prof darko radovic, come from. although i have never been there, this is the place i remember strongly

is the university keio and tokyo national university of fine arts and music held a joint workshop with. ranked very high on international university ranking, it was a great experience to work with them

is the university keio held a joint workshop with. in a tight time schedule, micro-scaled observation of tokyo urban fabric was operated

are the places i visited from 2011.03.09. the life of corinth was so impressive that changed my life plan

are the places i visited after greece from patra to bari with ferry. stayed in a trullo, and got scared of security in naples

is the university chiba university graduate school held a joint workshop supported by FDL with. first time experience of scandinavian countries, first time workshop outside japan.

モスタル，ボスニア・ヘルツェゴビナ慶應義塾大学時代の指導教員ダルコ・ラドヴィッチ教授の出身地．訪れたことはないものの心にのこっている

香港中文大学 2010 年慶應義塾大学と東京藝術大学とのワークショップ．世界大学ランキングで圧倒的上位を占める

シンガポール国立大学 2010 年慶應義塾大学とのワークショップ．タイトなスケジュールの中，東京の都市風景のミクロな観察を展開した

エレフテリオス・ヴェニゼロス空港，アテネ，コリント，パトラ． 2011 年 3 月，地震のわずか二日前に出発し，ギリシャにいく．コリントの生活に感銘を受ける

バーリ，アルベロベッロ，ナポリ，ミラノ．ギリシャからフェリーでイタリアへ．トゥルッリに泊まり，雨のナポリで治安に怯える

アアルト大学，フィンランド 2011 年千葉大学大学院とのワークショップ．富士通デザイン株式会社の出資のもと初の外国での011 ワークショップを体験した

archiv*

typography automata (pseudo)

_graphic design 1

ARCHITECTUR

PEDAGOGY

001. typography automata (pseudo), 2011.7

タイポグラフィ・オートマタ（偽） 2011.7

–

a frozen typography inspired by various kinds of kinetic typography videos on

YouTube などに多数アップロードされているキネティック・タイポ（躍

youtube, typography automata is aimed to fake an automata that autogenerates

動する文字）に影響を受け，セル・オートマトンを意識しながら次々と

the next relevant words one after another by emulating the cellular automata

連想される著者の興味と専攻，専門を列挙したタイポグラフィです．

routine inside my brain.

自分に大きな意味を持ち他のたくさんの語と結びつくものは大きく，そ

the bigger and broader the word means (for me), the bigger the letters get.

うでないものは小さく配置しています．二次元の文脈を持ち塊と塊もま

related to the nearby words eachother, the typography consists synthetic

た関連を持っています．これをひと通り読めば私の知っていること，で

understanding of my majors and minors, and my major and minor interests

きることが概ね理解できるようになっています．その意味で最も単純な

varying from merely a product to philosophic phenomenon.

ポートフォリオとも言えます．

012

archiv*

_graphic design 1

typography automata (pseudo)

RE WITHOUT ARCHITECTS

013

keio waldorf schule Die Baukunst im Zeitalter seiner technischen

graduation work

Reproduzierbarkeit

at keio university department of science and technology faculty of systems and design engineering

k-12 waldorf school in yokohama, japan

1. Introduction

5. Discussion

8. Bibliography

As management of companies diverse, establishing a concurrent identity and image of the manufacturers, especially those of the major corporations, is one of the most pressing needs for them. In this thesis we clarify the direct connection of Steiner and his manufacturers in sense of principles and methods. After that, we point out the possibility of Rudolf Steiner’s followers’ way of establishing their concurrent identity and image to be a part of the answer.

This thesis identifies clear flows of inheritance of Steiner’s principles and methods, ninety years after the construction of his Goetheanum. Moreover, that approach (which stretches the meaning of the word “style”) has an incredible feature: it evolves. Unlike other styles (such as Modernism, which has emerged at the same time as Steiner’s), Steiner’s design guidelines are proving capable to transfigure themselves. Being truly human, and thus universal, Steiner’s principles and design methods get adopted and are successful in design of almost any kind.

Agematsu, Yuji. Architecture as The Perspective of The World. 3rd Ed., Sagami Shobo, 1974, 335p. Agematsu, Yuji. 1998.3.25, Steiner Architektur: Und der Bau wird Mensch. Tokyo, Chikuma Shobo, 319p. Carlgren, Frans; Grosse, Rudolf; Weissert, Erns; Klingborg, Arne. 1982, Erziehung zur Freiheit: dd. Pädagogik Rudolf Steiners; Bilder u. Berichte aus d. internat. Waldorfschulbewegung. Takahashi, Iwao;Takahashi, Hiroko Trans., Stuttgart, Verlag Freies Geistesleben, 210p. Deleuze, Gilles; Guattari, Felix. 1980. Mille Plateaux Capitalisme et Schizophrénie, Paris, Les Editions de Minuit. Nakai, Hisao. 1982.2.15, Schizophrenia and Human. Tokyo, Tokyo University Publishing, 252p. Schuyt, Mike; Elffers, Joost; Ferger, Peter. 1991.5.20, Rudolf Steiner und seine Architektur. Nakamura, Shizuo, Trans., 2nd ed., Shubunsha,192p. Original published in Köln, Du Mont Buchverlag, 1991. Steiner, Rudolf. 1957, Wege zu einem neuen Baustil. Agematsu, Yuji Trans., Stuttgart, Freies Geisteleben, Sagamishobo, 272p. Steiner, Rudolf. 2005.8.31, Steiner’s Beautiful Life: from Architecture to Garment and Language. Nishikawa, Takanori Trans., Futohsha, 205p Steiner, Rudolf; Oberhuber, Konrad; Kugler, Walter; Pehnt, Wolfgang. 1996.11.30, RUDOLF STEINER BLACKBOARD DRAWINGS - WHEN EARTH BECOMES MOON. Takahashi, Iwao, Trans., Kugler, Walter, Ed., Tokyo, Chikuma Shobo, 154p. Tanaka, Yoh. Design Theory. 2000.6.8, Tokyo, Iwanami Shobo, 149p.

Rudolf Steiner is unexpectedly unrecognised as a designer. Highly regarded for his education system, commonly known as Waldorf education, he has also created masterpieces in various field of design, ranging from his blackboard drawing, via paintings and sculpture, to architecture. But, his art and design tend to be difficult to comprehend, mainly because they embody a very specific worldview, Anthroposophy. 2. Research Method

In this thesis we analyse Steiner’s architectural design, corresponding principles and his design method, by extracting the key concepts from his works, including his published lectures and literatures. And then we analyse products by manufacturers following Steiner’s principles as shown in fig. 1-2.

Steiner does not seem to have consciously intended his works to be the design sources. Still we can feel almost the same feeling from his works and the followers’ works. Designing identity is one of the most cutting-edge, important, profitable, and yet not accomplished field of design. While sometimes CI is even taken as a part of styling(Tanaka, 2000), however, ideal CI establishes clear, unique, yet flexible identity of the corporation, which have been achieved by not so many companies around the world. Therefore the current methodology cannot be the answer for achieving it: on the contrary, the answer is right here in the thesis: the way Steiner created Anthroposophy and his works. What he achieved the best and only was synthesizing the cross-cutting designs. And so Anthroposophic design goes through starting from shared principles via shared design methods to shared identity.

3. Design Principles and Methods by Rudolf Steiner 6. Project While for Steiner, to do architecture in the same way as five years ago was equal to going backwards for a century (Agematsu, 1974). Through an analysis of his architectural principles and design methods, we developed and documented over twenty years of his architectural career, shows that they establish a rigorous and consistent, systematic matrix, shown in fig. 3.

The design part of this thesis shows how Steiner’s process actually works. Adopting and applying as many of Steiner’s principles, as directly as possible, we propose a Waldorf school in Yokohama as shown in fig. 5. 7. Conclusion

4. The Design of Associated Manufacturers

Many manufacturers associated with Steiner have been following those principles, seeking faithful compliance with his broader philosophy. Design is not an exception. The followers mainly refer to Steiner’s architectural design principles and methods, as exemplified in fig 4. The matrix shows those direct relationships explicitly, as well as that some of the principles and methods (eg. “House of Speech” and “Chromatics”) simply do not get followed because of the difference of the means of expression. It proves the clear relationships between the ancestor (Rudolf Steiner and his designs) and the descendant. In accordance with the principles and the methods, it is possible to compare any elements each other.

Because Steiner’s art and design are not limited to themselves, they establish a style. The follower’s figuration process and material adoption have gained a recognisable, synthetic identity. In order to understand further than just discovering the descending influence on manufacturers, we have introduced CI, even though the conventional idea of CI today is far, far away from Steiner’s philosophy. Still, being encouraged by Steiner’s idea “Always adapting (the arts) to the (industrialized) real world,” we took the risk to endanger the artistic Anthroposophy to the means of profitable management strategy. The research question was implicitly dominating the thesis: ‘how the manufacturers associated with Steiner achieve a synthesis of the designs?‘ The answer is, with the design principles and methods by Rudolf Steiner, the manufacturers have accomplished concurrent identity that bonds them stronger than CI, more flexible than CI, and more sustainable than CI.

016

002. section 1:100

017

003. perspective drawing 018

019

Original site for keio elementary school 小学校新設予定地

circulation 動線

schoolyard: the site グラウンド，今回の敷地

020

東急田園都市線江田駅

021

004. masterplan

archiv*

outdoor roof

indoor roof

beam

bookshelf

2f public circulation: library

1f school classrooms

site

022

_architecture_graduation work

keio waldorf schule

archiv*

keio waldorf schule

_architecture_graduation work

background

concept

strategy

although waldorf education has gained certain amount of reputation among the

the amount of students roughly decreased six ninth of the original plan.

you might think that one classroom for each grades is too small for a k-12

people who are pretty conscious of pedagogy, it still cannot be said to be well

this design work starts from the idea of making effective use of a site that

school while ordinary waldorf school usually contains that small amount of

acknowledged in general. founded by rudolf steiner, an austrian philosopher,

was planned to be a playground for the new keio elementary school that was

students. it also adopts the popular waldorf school colouring strategy based on

architect, and esotericist, supported by a manager of Waldorf Astoria tobacco

dissociated fairly far away from the main classroom buildings. what would

goethe’s chromatics and the gradually changing form of horizontal section of

division, waldorf education was one of the important discussions on my

happen if keio changed its mind that tiny little playground should be occupied

the classrooms as its grade advanced, combined by japanese sense of space.

graduation thesis.

by a tiny little K-12 waldorf school that provides 12 grades=classrooms for

in the thesis the influene of steiner’s architectural designs and principles upon

approximately 30 students each?

waldorf education was discussed from the viewpoint of anthroposophy. keio, on the other hand, was planning to found a school from primary through early secondary levels in aoba, yokohama, and conclusively scaled it down to merely an elementary school in an increasingly serious financial condition.

背景

コンセプト

ストラテジー

ウォルドルフ教育は，教育に意識の高い人々には一定の知名度を得てい

本設計は当初小中学校であった計画が小学校に縮小し，単純計算で生徒

学年 1 クラスではあまりに小さいと思われるかもしれませんが，ウォル

ますが，一般的には十分に認知されているとは言いがたい教育法です．

数が 6/9 になったこの計画に対して，小学校新設予定敷地からかなり遠

ドルフ学校では標準的な規模です．学年が進むに連れて少しずつ教室の

オーストリアの人智学者，哲学者，彫刻家，神秘家，そして建築家であ

い場所に孤立しているグラウンドを有効活用できないかというところか

形が変わるというポピュラーな手法，それぞれの学年にあったゲーテ的

るルドルフ・シュタイナーが創設し，現在も最高級のホテルとして有名

らスタートします．私の提案は以下のようなものです：たとえば，この

な色彩計画など基本的なデザインガイドライン ( もちろん強制ではありま

な Waldorf Astoria のタバコ工場部門の共同経営者がその思想に賛同した

小さな土地に，同じくらい小さな，１学年 30 人程度の，小中高一貫のウォ

せん ) にのっとりつつ，日本的な空間感覚を採り入れています．

ことではじまりました．

ルドルフ学校を創立してはどうか．

卒業論文においてシュタイナーの建築作品がウォルドルフ教育の教材で用いられる様々な工芸品，例えばおもちゃのディテールに及ぼしている影響に関して，その根元となる人智学からはじまる考察を展開しました．一方，慶應義塾は横浜市青葉区に小中一貫校を慶應義塾創立 150 年記念事業のひとつとして新設する計画でしたが，財政状況から小学校のみの開設としました．

synthesis

form

the thesis concludes that steiner’s principles work as Corporate Identity for the

the amount of students roughly decreased six ninth of the original plan.

entire community because the followers of his philosophy follow his art, then

this design work starts from the idea of making effective use of a site that

eventually they gain the identical identity in their own ways.

was planned to be a playground for the new keio elementary school that was

i, who designed my graduation work based on his principles and design

dissociated fairly far away from the main classroom buildings. what would

methods, am also one of the followers and the part of his vast Corporate/

happen if keio changed its mind that tiny little playground should be occupied

Community Identity’s branch.

by a tiny little K-12 waldorf school that provides 12 grades=classrooms for approximately 30 students each?

CI のコンテクストから：複製技術時代の建築

造形

彼の思想は理想的な CI(Corporate Identity) として働いていると考えてい

フォルムは有機的建築を強く意識しました．ここでいう有機的建築とは

ます．彼の思想に賛同する者が彼の芸術に賛同し，結果彼の賛同者は同

決して自由曲面の多用ではありません．シュタイナーの重要な建築理念

じアイデンティティを異なる道筋で達成していたからです．

に建築が人間になる，というものがあります．建築を有機体として捉え

彼の思想とデザイン手法に基づいて卒業設計をした私もまた賛同者のひ

ること．ものを吸込み，ものを吐き出すこと．共有すること．異物を拒

とりであり，彼の壮大な CI の枝葉のうちの一本です．ベンヤミンの投げ

むこと．成長すること．修正すること．間違えること．影響を受け，影

かけた複製技術時代の芸術の姿は，もしかしたら彼にあるのかもしれな

響をあたえること．考えること．．．無数の生命活動を統合的に表現しま

いと考えました．

した．

design process: Rhino Study Screen Capture available on vimeo. http://vimeo.com/18625630 http://vimeo.com/19776388

005. exploded structural diagram 023

keio waldorf schule

_architecture_graduation work

Art

Music

Eurythmy

archiv*

024

archiv*

keio waldorf schule

10m

_architecture_graduation work

006. 1f plan

025

026

this is

027

what i had in mind.

028

thi

is is what iâ&#x20AC;&#x2122;ve done. 029

030

2010 JIA 東海支部での設計競技．屋根と壁という主題で「風土を考える」というコンペティションでした．はじめてのコンペでしたが，銅賞を獲得しました．データは一度震災で消えてしまい，図面を送っていただきスキャンしたものを掲載します．

JIA compe tition third prize 2010 Arch itecture

rhizome

archiv*

032

f端r produkt und nichtprodukt

archiv*

f端r produkt und nichtprodukt

033

hwisprian service design

007. active mutation of design works 2011.12

デザイン作業のアクティブ突然変異 2011.12

diagrammatic structure of the proposal / contents.

提案や生成した内容のダイアグラム的構造．

inspired and based on the diagram by takashi ikegami.

池上高志によるダイアグラムをもとに作成

scene analysis and experience design für voice user interface 2011 nov 15 -dec 2 サービスデザインシーン分析とエクスペリエンスデザイン

2011 11 月 15 日 –12 月 2 日担当領域：個人

Diagrammatic Structure of the Proposal task

analysis brain storming product. diagrams literature review meeting classification product. sheets if-f distribution

concept confluence

brain storming

meeting realisation

experience

– Intro

+ さて，ここからが本題です．まず右上にもくじ，と書いてありますが

+ この写真はギリシャで撮ったものです．あまりの見た目に乗るしかな

見間違いではありません．これが今回の目次です．あまりに複雑なプロ

いと考えたんですが，結局２ユーロいれたのにぴくりとも動きませんで

セスを辿ったため，図解してそれをもとにお話を進めていきたいと思い

した．

ます．

0 Task

+ 今回の課題は，F 社研究所の培ってきた技術である音声を用いたユーザーインターフェースが発端でした．

+ まずはじめに課題について簡単に説明いたします．これが第０章です． + そしてここが最も複雑なのですが，この課題に対して私は２つのアプローチを採用しました．

0 1

現状調査 (技術シーズ)

シーン検討 (消費者ニーズ)

+ このように車内でハンズフリーでニュースを読みあげてくれて，その中に興味を惹かれる単語，例えば北海道の天気が気になったら「ﾎｯｶｲﾄﾞｰﾉﾃﾝｷ」と言うと教えてくれるんだよ，ﾁｮｰﾍﾞﾝﾘ！というものです．

+ ただ，これを見たフツーの大学生としての私の率直な感想は，すごいねーでもいらないねーってなかんじでした．原因はふたつあります．まずそもそも単葉機すぎて広がりを感じず，ラジオでニュースなんて聞かない世代としてはなんとも肩入れしにくいシチュエーションを研究所が想定していること．

+ ひとつは左側，ひとりで独自に考えて調べる現状調査で，これは技術シーズを主に取り扱いました．これが第１章．そしてもう片方である右

+ そして既に他社の技術でできそうだからです．

側では，みなさんのお力を借りて頻繁にフィードバックを得つつすすめるシーン検討です．どんな消費者ニーズがありうるかについてひたすらだしました．これが二章．

+ このように完全に独立した２つのアプローチを辿ったにも関わらず，なんと最終的に同じ気づきを得られました．コンセプトはそんなわけで１章と２章がかぶっています．

3 慶應義塾エンジニアリング

千葉

建築意匠都市工学

サービスデザイン

エンジニアリングサイドの私

プロダクトデザイン

0.5

デザインサイドの私

+ 学部時代にはエンジニアリングを３年間学び，並行して建築を２年間学びました．それに比べると，千葉大学でのデザインのキャリアはせいぜい半年ですので，デザイン専攻でありながらその経験が決定的に不足していました．経験を積むには実務にかかわらせていただくのが最も近

具体化 + + + + + + +

これを御覧ください．Samsung の Galaxy の CM なんですが，

ということでこれが第三章です．コンセプトを建てただけではもちろん終われないので，それを具体的なシーンに落とし込みます．色んなシーンをだしました．これが４章です．その中から１つだけ，これはいける！というものを見つけました．それを最終的なエクスペリエンスデザインとして提案します．これが五章です．

道だと考え，応募しました．さて，このようにエンジニアリング SIDE の私と，デザインサイドの私がいることになるのですが，デザインを志

し始めた中学生の頃から考えてきたことがあります．

1 + それはエンジニアとデザイナを隔てる大きな見えない壁です．エンジニアはデザインを理解しようとせず，デザイナはエンジニアリングを理解しようとしない，語弊はありますがやはりこれはそこかしこで感じることです．

Samsung も既に「車内で」「手元がおぼつかないから」「しゃべってもらう」というものを考えついています．

2 4

+ つまりファーストインプレッションは，「あー，日本語版の Siri ねー．日本語版Siri？

Galaxy とは競合しないようなものを作りたいな，とおぼろげながら考え始めました．

+ ここでデザインを明確にするために，条件をひとつ設定しました．それは，ひとくちに音声ユーザーインターフェースと言っても，今回は音声でのインプット，つまりこうして聴いているようなインプットと，音声でのアウトプット，つまり私がこうやってしゃべるようなアウトプットに限定して考えてみよう，というものです．

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5 + これを取っ払いたい，ふたつの強みを活かし合えるお手伝いをしたい，これが長期的な夢でした．

+ こんな本を見つけました．Designing the user interface. 2005 年の本です．音声によるインターフェイスに関しても詳しく書いてあり，大変参考になりました．

+ その中でいくつか大変刺激的な記述を見つけたのでご紹介します． + そのいち．音声 UI の技術が急速に進歩しているにもかかわらず、デ

例：キーボード＋マウス ↓ ディスプレイ

ザイナは音声をインターフェイスとして使うことに魅力を感じていない．

+ そのに．発話は脳の限られた部分を占有するため、脳のさまざまな部位を駆使する手＋目の協働作業に比べ同時並行の作業に向かない．

+ その一！手で入力して目で見る．これが今最強のインターフェイスと考えて間違いありません．キーボードやマウスで入力し，ディスプレイで出力する方法です．使わない日はないといっていいでしょう．最も手ごわいライバルです．

+ その６！手で入力してディスプレイや音声でフィードバックする．テノリオンとかカーナビがこれに該当します．

+ その７！声で入力してディスプレイや音声で受け取る．Siri や次世代バウリンガルがこれに該当します．

+ その１１！オンラインゲームでボイスチャットを使うことがあるのですが，そうすると手での入力が音声と視覚に結びつき，音声入力が音声出力でフィードバックされます．

+ まあ，というわけで，こんな感じできれいに 15 個の部屋のどれかに分類されてしまいます．

+ そのため手＋目の作業は話しながらやるとよくミスる．これはつまり電話しながら運転しちゃいけませんよ！ってことです．

+ これが何を意味し，何を示

唆するかを個人ワークで考えました．

+ そんな中で与条件を思い出してください．これだけ色々出して比較し

ということで第０章完，第１章の開始です．

てみると，見えてくるものがありました．

+ そして最後にこれです．音声は UI 界の自転車である。すごく楽しいしとても重要な役目を果たす、でも少しの荷物しか運べない。自動車た

1.1 Research&Analysis

る GUI の代わりにはなれない．

+ まずは調査と分析です． + 理解を深めるために UI グラフというものを作ってみたので，お見せします．

非常に限定されたフォーカスのはっきりした条件を与えたわけです。この余計なものがそぎ落とされた条件のもとで何ができるかを考えました。するとここに出ているようなデバイスとは比べ物にならないくらい豊かなインタラクションが可能であるということがわかりました。何ができ

+ 世の中には様々な種類のユーザーインターフェースが溢れています

るかはコンセプトに直接関係するので今はまだ言えません．

ただここで強い疑問が沸き起こりました．

が，このグラフにかかると相当な部分がきれーに分類されてしまいます．みていてください．手で入力する

1.1.2 analysis of parole and écriture 音声を発する

入力方法

これは本当に言い得て妙だと思います．例えばコンピュータの声で Wikipedia を読むのを想像してみてください．こっから自転車で京都に行くようなもんです．この一文で音声 UI が理解できるんじゃないかと思います．

次にやったことです．話し言葉と書き言葉を調査し分析してみました．

+ 音声に「乗っている」情報量こそ少ないものの、感情や調子、声色など様々な情緒を伝えることができる．GUI の代わりにはなれなくても，

GUI では不可能なインタラクションが可能になるはずです！ + ということで今まで３つの調査と分析を通して，ぼんやりとしたコン

Siri, 今日は何日？

セプトが見えてきました．

+ ここまでのおさらいです．

次はー代々木公園！目で視る

音声を聴く

出力方法

+ 上半分はあなたがどのように入力するかです．左側はあなたの手で，つまりマウスとかですね．

+ または声で入力する．今日は何日？って聞く． + 下半分はあなたに対して機械がどのような手段で発信するかです．あなたの目に飛び込ませるようなディスプレイで示すか，

+ または声でお知らせるとかです．この４つの点を結ぶことで，ある一種類のユーザーインターフェースを表すことができます．

+ 例えば今回の与条件を図式化するとこうなります．音声でインプットして，音声でアウトプットするよ，それ以外は考えないよ．

+ 左側がインフォーマルな表現としての話し言葉です．右側がフォーマルな表現としての書き言葉です．ここで主張したいのは，これらが決して 2 つの独立する事柄ではないということです．そうではなくて，その

2 つの性格を持ち合わせた表現が世の中にはたくさんあるということです．例えば Twitter は書いてある言葉でありながら，そのスピードとそのはかなさから話し言葉の性格を持っています．Siri にしてもそうです．話しているのに書き言葉の Txt にしてクラウドに送っているわけです．今回の音声 UI もこの両者の性格をもちながら，明確にどちらかに属するわけではないのではないかという予感を得ました． 1.1.3 literature review 次にやったことは文献調査です．ある日ネタが尽きたので隣の席に並んでいる本を漁っていたら，

1_ 同様の技術は英語なら既にある． 2_I/O を音声に限定すると途端に豊かになる．

3_ 音声UIは話し言葉と書き言葉両方の特性を持つ． + そうするとこのような１５通りに分類できます． + すべての場合を考えて類型化したのですが，時間が惜しいのでそのうちの４つだけ紹介します．

4_ デザイナは音声に興味がナイ． 5_ 音声UI は自転車 . 6_ でも自転車のほうが自動車より楽しいよ！ + そんなこんなで左側を説明し終えました．第一部，完．

037

2 Gr oup Works + 第二部に移ります．

2.1 SceneClassification

+ 三人寄れば文殊の知恵，三人寄ればスティーブ・ジョブズ．．．ってのは冗談ですが，グループワークの効果がこんなに大きいとは思っていませんでした．そのプロセスと成果をごくかいつまんでお話しします．

+ まずはシーンの分類です． + いきなりブレストから説明します．

+ これが全体のマインドマップです．ここで学んだことがひとつあります．それはブレストは最強だということです．大学でのミーティングといえば，あつまってうーんと唸ってどうしよっかってなって，POSTIT をひっぱりだしてきてぼそぼそしゃべってでてくるアイディアに「つぅまんねぇなぁぁ」って頭を抱える，そんな気怠い時間です．それがマインドマップを使ってミーティングするとあんなにアイディアがあのスピードで出るのか，という驚きでした．マインドマップは容赦なく次のことを考えさせるのでだれる隙を与えない，決して楽な作業ではありませんが非常に集中的に時間がつかえるものだと思いました．同級生にも布教しようと考えています．

+ 第二部の目玉であるシーンの分類表はそこで出てきたアイディアも拝借しつつ，とにかく数を出しつつそれを分類して行きました．ここでは時間の関係上ほんとにさらっと紹介しますが，音声 UI で何を補うのか，何が補えるのかを考えました．全部で 100 くらいのシーンを出したんですが，その中でも 3 つだけ紹介します． 2.1.2.1

038

+ ひとつめは「て入力に対する・・・（確認する）」です．一株 61 万円！ってのは JCOM のあの痛ましい事件のやつです．株と円をごっちゃにしてしまったために起きたエラーですが，声に出して読んでたらこんなことにはならなかったろうに，ということで考えました．

2.1.2.2

+ ふたつめは「口下手の人のための音声 UI」です．例えばこうやってプレゼンするときに，えーとかあーとかいっちゃいますよね，とちったり言い間違えたりしてしまいます．それをカバーしてくれる口パク音声 UI です．単に喋ってくれるだけではなく，スティーブ・ジョブズの音声 UI と自分の音声 UI を合成して彼っぽくプレゼンしてもらうとか，オバマの音声 UI と会話するとか，そんな使い方もできます．このふたつはフィジカルな，体の器官の能力を補うか伸ばすかなんかしてくれる，という趣向の UI です．

2.1.2.2

3 4 Conc Strat ept egy / Reali sat ion + こんなわけで，2 つの別々のアプローチからほぼ同時に導きだされた

ハイブリッドな解答が，今回の提案のコンセプトになりました．第三章，コンセプト．この章は一瞬で終わりますので安心して下さい．

+ ひとことで言うと，音声 UI は GUI に比べ明確に優っている点がひと

『話す』ことは非常に敷居が低い

つだけある，それは書き言葉ではなく話し言葉によるインタラクションであるということです．なんのこっちゃ？だと思います．

そういや最近必修でてる？

みっつめは少し違います．「王様の耳はロバの耳」です．そのものずばりなんですが，愚痴を聞き流してくれる，しかもそれにちょうどいい感じの相の手を入れてくれる世話焼き音声 UI です．前の 2 つとの明確な違いは，これはフィジカルな何かの補助ではないということです．むしろメンタルの，喜怒哀楽をもっとよくしたい，というコンセプトで考えました．

いやぁ…

+ 話すことは非常に敷居が低い．メールでのやりとりではそこまでして

これがのちのコンセプトにつながるので覚えておいてください．

聞こうと思えないようなことでも，ミーティングの途中で隣の子にちょっ

+ ということでおさらいです．

と聞くのはとても簡単です．

人工物との対話．

『話す』ことは非常に敷居が低い

これがコンセプトです．第三章，完．

1_ 音声 UI には少なくとも 100のシーンが考えられ

る。 2_ ﾆｶﾞﾃな事も多い． 3_ デバイスが小さい．あらゆる所に埋め込める． 4_ 話し言葉っぽく雑談もできるかも． 5_ 効率は悪くても， 6_ エモーショナルなインタラクションが可能。

な大ぁきれく！

+ 第四章です．このコンセプトをストラテジーとして具体化していきます．ここでは第二章と同じようなプロセスを採用しました．

+ まずは聖なるマインドマップを使いました．

+ みなさんはペットにメールを出したことはありますか？ぼくはありません．みなさんはお花に手紙を書いたことはありますか？ぼくはありません．そこまでする価値がないからです．フィードバックがないことがわかっているのにわざわざしても悲しいだけです．ただ花に話しかけるくらいなら多分やったことがあるんじゃないかと思います（挙手させる？）とっても簡単だからです．お返事なんてあるはずがないのはわかっててもなんかしちゃう，それが話し言葉の魔力だと思います．

+ どうでもいいことをさせるくらいに，話すということに費やすエネル

+ それを参考にしつつ，シーンを色々出して見ました．フラッシュアイ

ギーは小さいといえます．GUI でのインタラクション，例えばメールや

デアですが，その中から最もわかりやすいであろう 3 つのパターンをお

手紙では費やすコスト，すなわちエネルギー，すなわちだるさがデカイ

見せしたいと思います．

のに対し，音声 UI は非常に小さい！触媒の役割を果たしていると言えます．

+ 別の表現をするとすればまたこの障壁ダイアグラムが役に立ちます．高くそびえる GUI の壁を，

+ 音声 UI はいともたやすくぶち抜きます．

039

+ ひとつめ．いすと対話する． + 最近重いぞ！ゆがんじゃうぞ！とか，ちょっと乱暴に扱うといたい！蹴飛ばすな！とか言い出します．ちょっとうざいですね．

+ ふたつめ．電車と対話する．アナウンスが流れたときにイヤホンをしてたとかで，重要な情報を聞き逃した経験はないでしょうか．そんなときに車内で天井に向かって，

+ 第三条．音声 UI はいらぬお節介をするべからず． + 何故 Office のイルカ，カイル君はあんなに消したくなるのでしょうか？

⾔言 � ⼀一

色々考えられますが，なにより邪魔でうざいということです．消してもとかっていうと教えてくれたらうれしいんではないでしょうか．ちょっ

消しても出てくるあの感じを音声 UI は持つべきではありません．//

と変な人ですけどね．

+ さて，もうこれだけで個人的には相当ぶっとんでるんですが，この思 + みっつめ．冷蔵庫と対話する．出先で，急にねぎが食いたくなりました．考の中でひとつだけしっくり来るものがぽこーんとでてきました．それ

おい冷蔵庫！と電話をかけます．

が最終的なエクスペリエンスです．そしてこの一連のサービスとプロダクトを hwisprian, ウィスプリアンと名づけました．古英語で，ドイツ語

+ いまねぎある？

から来ているそうなのですが，whisper, ささやくの語源です．

hwisprian

Old English

Etymology: Proto-Germanic *hwisVerb: hwisprian (weak class 2)

⾓角

+ ないよ！でも次のかどを曲がったところにあるスーパーで安売りしてるよ！っての教えてくれたらきっとうれしいに違いない．

to whisper

5 Expe rien ce De sign

+ それと並行して，色々突き詰めると，色々できるんだけど色々やっちゃいけないことも見えてき

+ 最終的に行きついたのは，「企業との対話」でした．なんだよ，人工

ました．これが非常にアイディアを明確に削ぎ落

物じゃないじゃん，と思うかもしれませんが，ここでの企業は人工物の

して行ってくれました．

供給者としての法人です．法人は最近になって特に利用者との対話を志

+ してはならぬことリストです．ぼくのノートにはもうめっちゃ長いリストになっているのですが，そのうち最も重要な 3 つを紹介します．

すようになりました．

+ 旧来のお客様相談センターやメールでの連絡に加え，今や無数の企業が twitter アカウントを持ち，ブログでの「現場の生の声」を届けようと躍起になっています．

+ 第一条．音声 UI は嘘をつくべからず． + InDesign が予期せず終了しましたっていうウィンドウ，

+ その原動力となったものは色々と考えられます．顧客満足度の改善，クレーマーへの対処，ブランディング戦略などなど．

+ その中でも今回特に注目したのがデザインへの反映です． + [1 コマ目 ] 念頭にあったのは研修医１年目の兄です．以前兄に F 社製の電子カルテの使い心地について聞いてみたのですが，F 社の方々の前ではとても言えないようなダメだしでした．その上でこうしたらもっといいのに，ここが治ったらこんなに楽なのに，といったコメントをたくさん残しました．おそらく F 社の方々もこれで大丈夫かな，使う人は困っていないかな，と気になってはいるはずです．それが F 社の掲げる「吹き出しマーク」に凝縮されているはずです．

+ [2 コマ目 ] しかしその吹き出しは茨城の兄には届かなかったようです．理由は簡単で，先ほどお見せした「植物に語りかけるときのコスト」と一緒です．そこまで手間暇かけてもなにも変わらないという予感があるからなにもしないのです．その不平不満を聞いて欲しいと思い，聞かせて欲しい人が対岸にいるのに，コミュニケーションにかけるコストがそもう多分 50 回くらい見てるんじゃないかと思うんですが，もうこうなる

れを上回っているのです．

と予期できるようになります．つまり予期すべきなのにしなここんへん．ら，クラッシュレポートは最初の 2,3 回だけ書いてその後放置してます．

+ [3 コマ目 ] ならばどうするか？ここで音声 UI が登場します．例えば， F 社の提供する全ての製品にシール状のとても小さなデバイスを貼り付けることができたと考えてください．そしてそれが彼ら 2 者の間をとり

皆さんも同じだと思います．最もイラつくことをされた張本人にイラつ

もちます．

改善しますとか言って全くされないんです．嘘を疲れている気がするか

く作業をさせられてたまるか，というのが偽らざる気持ちです．音声 UI は正直であるべきです．

+ 考え方としては例えば「1 万台電子カルテが売れた」としたら，「1 万人の F 社代理人が顧客から最も近距離に常時待機している」と捉えることができる，ということです．

+ 第二条．音声 UI は美辞麗句を並べるべからず． + ATM ってなんであんなに慇懃無礼なのか，考えて見ました．

+ [4 コマ目 ] そして使用者の漏らす日々の不平不満や改善してほしいこと，よくやるミスなどをそれとなくキャッチし，最適なレスポンスを返すことができるようになります．

（

全然申し訳なく思ってないけど

）

やもおりう手直一数し度でてはす下じがさめいから

040 お手数ですがもう一度はじめからやりなおしてください，の一言，機械自体は何も申し訳なく感じていません．その向こう側にもそれがあるようには感じられません．音声 UI はほんとうの意味で誠実であるべきです．

042

curureversi is a proposal of a reversi as a welfare device for hemiplegia patients. being easy to flip from the top to the bottom side up, the toy produces great opportunities for those disabled people to

cu ru re ver si pro d u k t

welfare device for

2011 chiba uni

patien ts

rehab along with enjoying the game. 2011 product design as a production in “design interactive 2”, a compulsory course in chiba university graduate school. group work. contribution: concept discussions, modeling, diagram drawings, editorial work of the final report, 3D CAD modelings, stereo lithography modeling (.STL).

curureversi は片麻痺，リウマチ患者のための福祉機器としてのリバーシの提案です．ひっくり返すのが簡単なため，通常のマグネット式などのリバーシでのゲームは難しい人にとっても楽しみながらリハビリできるような玩具を目指しました．千葉大学大学院 2011 年度必修科目デザイン・インタラクティブ２におけるプロダクトデザイン．グループワーク．担当領域：コンセプトディスカッション，模型製作，図面，最終レポートのエディトリアル，３D ＣＡＤモデリング，光造形による模型生成．

hemi plegia

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ひきだしから自分の色を見つけてとる

楕円がぐるっと回転した形なので手に馴染みやすい

すくいやすい形状

044

curureversi

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curureversi

045

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自分の側の４行にはまっているコマを・・・

手前の引き出しに掻きだすだけで・・・

片付けられます． 046

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curureversi 提案書今回，片麻痺やリウマチの方のためのプロダクトを考えるということで，私たちはまず遊具

2 日間のイベント中に来場者から得られた意見，問題点を記載する．

の提案を目指した．現状調査で千葉中央メディカルセンターを訪問し，様々な遊具を見せていただいた．その中で，ほとんどが市販されたものを応用して，リハビリなどの一環として遊具を使用してい

・コマをひっくり返す動作に関してひとつの指でうまくひっくり返せる人は少なく，ほとんどの人は親指と人差し指を使って

ることに気づいた．リハビリ課の理学療法士の方に伺ったところ，「片麻痺・リウマチの方用

ひっくり返していた．しかし，ひとつの指で押してひっくり返そうとする方はとても多く，

として売られている遊具は少なく，またそのような方を視野に入れた遊具もあまりない．」と

アフォーダンスに対し，機能が追いついていないことがわかった．

のことであった .

方に体験してもらったところ，ほとんどの人は自分なりにひっくり返しやすいやり方を見つ

そのことを受け，「私たちは片麻痺・リウマチの方も視野に入れたみんな

実際のリウマチ患者の

で遊べる遊具」を提案する事とした．この提案において，全く新しい遊具の提案となると，

けられ，喜んでくれた．しかし，人差し指でコマを下の方向に押すしかできない方もいたため，

覚えることがまず難しい・煩わしいということに繋がると考えた．そこで，世代を超えて誰

改善の必要があると思われる．

もが知っており，かつ非常にシンプルかつ奥の深いゲーム性を持つ，「オセロ」を発展させようと考えた．

・配色

Curu-Reversi では盤面が黒，コマが白，緑となっている．よくある典型的なオセロと同じ色を使用しているため，第一印象をガラリと変えつつも，親しみやすいという意見もあった．

「上肢が不自由な方でも関係なく，みんなで楽

・収納

しく遊べるオセロ」

スが一体型になっていることが良い．

○留意点

・遊び方のバリエーション

・片麻痺・リウマチの方だけにターゲットを絞るのではなく，その方々の方向にもターゲットを広げるという意識を持つ．

オセロのコマなど小さいものを使う遊びではコマを失くしてしまうことが多く，収納ケー

オセロだけでなく，一つの盤面でいくつかの遊び方があるともっと良いとの意見もあった．盤面の穴を利用して，ペグのような使い方はできないかという方もいた．

・健全な方にも扱いやすく，新たな面白さを提供することを目指す．・ゲーム性は変えず，オセロのシンプルさを活かした機能を考える．

・視覚障害者視覚障害者の方ではコマの色が区別できないという意見もあった．しかし，盤面の丸い穴

以上の点に留意し，提案したものが Curu-Reversi である．

はマス目に沿ったような枠があるよりもわかりやすいとのことだった．

"Curu-Reversi" の特徴となる点は３つある．

・こども

a. コマ・盤面の形状

ことはできなかったが，（父親が手伝いながら）

普段は寝たきりだという子どもにも体験してもらった．コマを置いてひっくり返すというコマを穴に落とすという行為を楽しんでいた．その子はスイッチなどをカチッとやる感じがまずコマの形状については，直径 30mm とし，従来の円筒形の平たい形状ではなく，角のな

好きなようで，コマが穴にはまるのが

い丸い形状とした．この形状は，従来のものよりも握りやすく，置いた時もつまみやすい．また，楽しかったようだった．

POP な可愛らしい印象も与える．次に盤面の形状については，１マスごとに直径 27mm の穴が 8 × 8 個で空いている．

b. 置き方・ひっくり返し方

・その他オセロとしての機能とは直接は関係ないが，１本指ではうまくひっくり返らず枠をはみ出してしまうことが逆に面白いなどコマの動きのユニークさが好印象だった．同時に「オセロ

上記のコマと盤面形状により，従来のオセロとは異なる置き方・ひっくり返し方を可能とする．だけではもったいない」「他の遊び方も欲しい」などの意見もあった．まず，置き方について，従来のものは置く場所を決めたら，位置を定めてちゃんと置かなければならない．だがこの提案では，置く場所を決めたら，ある程度落とす位置さえ決めれば，今後の展開として，ヨコハマヒューマン＆テクノランドにて得られた意見や出てきた問題点ポトっと落としても穴があるのでコマがその位置に納まってくれる．少し上から落とすだけ

を元に改善していく必要がある．

なので，どのような持ち方でもかまわない．・コマや盤面の形状に関して次にひっくり返し方について．この形状ならば，つまんで持ち上げることなくひっくり返す

a.「片手でひっくり返せるオセロ」を目指す

ことが可能．回転軸が定まっておらず，どの方向にも自由にひっくり返せる．手のどこの表

指一本でひっくり返そうとする人が多いが，現状では指一本で押すだけではひっくり返す

面を使ってもひっくり返すことができるので，少し慣れさえすれば，自分の使いやすい手の

ことは難しい．そこで，コマを太らせ一本指でひっくり返しやすくする．しかし，コマの形

表面でひっくり返すことができる．

状自体を変えてしまうと，握り心地やフィット感，見た目の可愛らしさに影響が出てしまい，全体の印象が重たくなってしまうかもしれない．コマの厚さも変わるので収納箱に入らなく

c. 箱の形状箱の形状についてもいくつか工夫がある．

なる可能性もある．

b.「オセロ以外の遊び方」を考えていく

まずはコマの取り出し方法について，コマの収納に用いる引き出し部であるが，手前側にアールをかけた．これにより，コマをつまんで取り出す必要はなくなる．アールに沿ってコ

コマの形状とそこから生ませる動きの面白さや穴の開いた盤面など従来とは違う要素を活

マをたぐりよせ，すくうようにして手のひらにコマを乗せることができる．

かすためにオセロ以外の遊び方，コマの使い方を考えていく．一本指では難しいという意見

次にコマの収納の仕方については，従来のものよりも非常に簡単に行えるようになった．ゲー

と同じくらい，その失敗によるコマの動きが面白いなどの意見も多く，それらを生かしてい

ム終了時に，引き出しに向かって，コマを手で掃き出すようにして収納するだけでよい．従

くためにはオセロだけにこだわらず，特徴的なコマの面白さを活かせるような違った遊び方

来のものはコマをケースに丁寧にならべる必要があったが，この提案により非常に片付けが

を考える．

楽になる．また，箱の形状をシンプルかつスタイリッシュにし，色もシルバーと黒でまとめることにより，・収納箱に取っ手をつけるファッション性を高め，部屋のインテリアとしても使えるようなデザイン性を目指した．

会場では収納箱の引き出し方に戸惑う方が多かった．取っ手をつけるのでなくとも何かしらの方法で簡単に引き出せるようにする必要がある．

今回制作したモデルを 2011/7/22.23 にパシフィコ横浜にて行われた，福祉を支える人とテクノロジーの総合展「ヨコハマヒューマン＆テクノランド」に出展した．そこでは会場に来

・全体の配色に関して

てくれたお客さんや同じく会場に出展している企業の方などから幅広い意見を聞くことがで

今回，ターゲットが片麻痺やリウマチ患者だったために色盲の方のことはまったく考えて

きた．また会場には多くの障害者の方が来場しており，ターゲットである片麻痺やリウマチ

いなかった．しかし会場には色盲の方もおり，現状の配色では判別ができないとの意見が得

の方に作成したモデルを実際に触ってもらえたほか，その他の障害を持つ方にも多くの意見

られた．「誰にでも使いやすいオセロ」を目指すならば改善が必要かもしれない．

を聞くことができた．また，当日の学生作品を紹介するイベント「ユニバーシティミニフォーラム」にて「Curu-

Reversi」のプレゼンテーションを行った． 1.5.2 来場者からの声

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011. curureversi drawings for stereo lithography .STL

363mm

30mm

363mm

048

30mm

15mm

38mm

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curureversi

誰もが使いやすく、片付けもラクラクこのオセロは、盤面とコマを工夫し、つまむことなくひっくり返すことができます。また、コマの取り出し方、置き方などにも一工夫しました。片付けも非常にラクで、半面分のコマを箱に掃き出すように入れるだけ。誰もが使いやすいオセロを目指しました。

049

mrcl branding project service design_branding 2011.06-07

2011.06-07

ovservation

although i practically did not participate in the middle of the design process, after the project was over, i found i was the one who made significant decisions over almost every particles of the project. my involvement: modeling supervision, modeling, 3D modeling, architectural advice, circulation analysis, research, and overall management.

みらくるリノベーションプロジェクトは千葉大学園芸学部農産物直売所緑楽来（みらくる）のブランディングと什器のリノベーションを意図したものです．本プロジェクトではデザイン作業そのものには実質関わっていないものの，最終的な決定を下す重要な局面で助言と提案を伝えました．担当：模型製作指導，模型製作，３D モデル制作，建築的助言，動線分析，調査，全体的なマネジメント

6 月 21 日みらくる店舗調査実施［対象時間］ 10:30-16:30( 営業時間 13:00-16:00) ［観察内容］ ◎お客さんの動き ◎従業員の動き ◎商品の動き ◎よりよくするために必要なものは何か［インタビュー調査］ ◎お客さんの意識調査 ◎従業員の意識調査みらくるに来るお客さんの特徴［店外観察］ ◎ガラス越しに中の様子をうかがう ◎商品、値段のチェック ◎ベンチに座って会話をする ◎この日の待ち人数

11:30 12:00 12:30 12:45 12:50 13:00

→ → → → → →

2人 3人 10 人 13 人 16 人 25 人

［店内観察］ ◎野菜などを買ってから花などを見る ◎会計が終わってから蜂蜜を買うのに並び直す ◎ラッシュ時にはレジ待ちの方が多い ◎従業員に調理法や種類の違いを質問する ◎レジ待ちの列が店内の動線を塞いでいるお客さんのニーズ［ヒアリング］ ◎お客さんには柏の葉の住民が多い ◎購入目的は、季節のものの野菜 ◎「安心さ」「新鮮さ」の保証が高い ◎汚染を気にされている方が多くいた ◎店舗が狭くかごをもって移動するのが大変 ◎ 値段はもっと市場を意識した方がよいと思う ◎きゅうりやなすなどは太さをそろえてほしい ◎ 遅く来ると、1 回で入店できない ◎どこ産なのかが、はっきりとわからない従業員の方のニーズ［ヒアリング］ ◎店内の値札の表示等は書き換えの楽なものに ◎お年寄りも多いので見やすいポップにしたい ◎出張販売ののぼりは持ち出しやすいようにしたい ◎ディスプレイ台は移動できるものにしてほしい ◎棚をななめにしたい ◎ ジャムは他では買えないものなので薦めたい ◎他の直売所との差別化を

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mrcl:package design

package designs for the products produced by and in the miracle farm stand, namely jam, honey, box for them, and the shopping bag based on the visual identity.

コンセプトとヴィジュアルアイデンティティー

“みらくるらしさ”を体現するビジュアルアイデンティティーみらくるの建物、お客さんや働く人からみらくるのイメージを抽出やわらかい自然光が差し込むイメージ素直で親しみやすい人柄のイメージ →透明感丸みのある太めのひらがな表記：親しみやすさを表現：視認性の向上建物の素材感から焦げ茶をキーカラーに設定千葉大学の農産物のさまざまな成果物、『実』があつまっているイメージとしての丸

+ 地域コミュニティーの和のイメージとしての丸塗りのムラ、余白感で光あふれる透明感を表す

新しいみらくる名物商品 : 贈り物用加工品ジャム・はちみつ「みらくる」をより多くの人に地域の名物として印象づけて知ってもらう手段として贈り物のパッケージデザインを刷新する。

012. jam bins

名物としておみやげにしたくなるもらってうれしくなるそんな洗練されたパッケージジャムそのものを、より見せるためビンの側面のラベルの面積を小さくした上面のラベルは、並べたときにきれいになるように品種やミックスによっ 013. honey bins

てカラーバリエーションを展開しさまざまな味を直感的に伝えるはちみつは値段・品質に見合った高級感を金色のふたと、焦げ茶色のラベルで表現ふた部シールのカラーバリエーションは原料の花の色をイメージ裏面ラベルも全体のイメージと統一して表記日々変わる部分：値段、量→ポップを 10 円刻みで用意することで対応または→ポップ下部に書き込めるような仕組み

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014. process of unpackaging and how the consumer reaches to the half-transparent paper that contains information about the farm stand.

贈呈用のジャムをもらい，パッケージを開くとそこにみらくるに関する情報の載った半透明のシートがある． 053

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before

054

miracle branding project

[process]

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after

015. a shopping bag and a box unboxed to show two bins of jam a simple shopping set containing bins of jam directly expresses the idea of the branding principle: transparency. 055

016. three groups joint meeting the architecture, the VI, the information groups joined together to synchronize every design process.

architecture: saito shun

graphic: kido j

056

architecture: soga task architecture: sakurai hiroki

architecture: obinata ayumi

leader: takano yoko

jiro architecture: me!

VI: sakuma ayaki

information: endo ikumo

VI: hatakeyama maki

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mrcl:architecture: interior:exterior 贈呈用のジャムに載っていた情報をもとにみらくるにたどり着いた．開店時間が短いようだが，のぼりがでているので安心だ．

開店まで店先のベンチに座る．浮遊感のあるベンチだ．

ベンチに座っていると背におすすめの野菜がディスプレイされている．何を買おうか？

来るときは気づかなかったが，のぼりの裏面に色々な情報がのっている．待っているだけでも楽しい．ここのトマトはなんだかすごいそうだ．

入り口付近には黒板で「今日の野菜」が提示されている．最新の情報はここで得られるようだ． 058

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入ってすぐ左手に花がある．野菜だけの直売所ではないのか．

中央に素朴な感じの野菜のディスプレイ．大半はここの農園で作っており，ものによっては神奈川のものもある．この直売所のメインのひとつらしい．どれも安いな．10 円刻みの値段も分かりやすい．

きれいにディスプレイされたはちみつもあるが，今回はパス．つぎ来たときは買ってみようかな．壁にとても大きな黒板がある．全国のどの農園から届いた野菜なのか，人目でわかるようになっている．

あっ，これがあの贈呈用のジャムか！めちゃくちゃおいしかったから，他の味も試してみよう．なんだか絵の具売り場みたいでかわいい．みそもあるのか．加工品も色々やってるのね．

加工品のカウンターが少し折れ曲がってレジになっている．ぐるっと一巡して全ての商品にスムーズにアクセスできるようになっている．

これはまた来よう．さらばみらくる．それにしても変な名前

059

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017. final minor adjustment of the products layout obsession of physical layout strongly related to typographic obsessions. 061

strata

2010 arch itect

critique: sejima kazuyo darko radovic et al. v spr oxel ing te sm ssel str ation

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_architecture_high FAR complex

No Stratum: Tabula Rasa 2010

2nd Stratum: Settlement 2020

B4: Senior Grade [2010] Spring Semester Studio Project 横浜市武蔵小杉地区の旧い工場敷地に容積率 500% 以上のコンプレックス [ 商業複合体 ] を

STRATA はそのような都市の大量生産へのアンチとして働きます．中心となるコンセプト

計画する課題です．

は多様性，特に中井久夫の言うところの，都市における腐葉土のような条件の積極的な構築

武蔵小杉に代表される東急東横線沿線は同じような駅の周りに同じようなコンディションが

です．

拡がる，大規模な仮面様顔貌性を備えています．教官：妹島和世教授ダルコ・ラドヴィッチ教授他 064

4th Stratum: Expansion

2030

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7.5th Stratum: Florescence

12 Strata: Decline & Fall of the Inland Empire

2040

2050

ヴォクセル・テッセレーション

019. voxel tesselation

2010 年に建設が開始されます．1 階の建築物が建造を終了すると，その

2010 construction starts. as the one-floor building(s) provides its rooftop as

上に建築したい人たちがその土地を買います．すなわち屋根の上に入植

a site for new buildings over it, and then the second floor does the same, the

する権利の売買です．2 階の建設が終わったら 3 階の権利を，3 階の建

whole building strata gets thicker and thicker. “site” means that the new settlers

設が終わったらまた別の人が 4 階を，といった具合に Strata ＝地層は時

on top of the old settlers’ buildings can build anything anytime. once you buy

をへるごとに→向きに分厚くなっていきます．入植者に対し，ここには

the site = the right to build on top of your house, there is only one rule to

ただひとつのルールしか存在しません：下の階の住人が決定したヴォイ

respect: do not fold up the other settlers’ void = the courtyard.

ド＝中庭を塞がないこと．

065

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strata

地層はまさに「層」であり、「帯」であって、その本質は、物質に形を与え、共鳴と冗長性にもとづく安定したシステムのうちに強度を閉じ込め特異性を固定して、地球というこの身体の上に大小の分子を構成し、それらの分子を更にモル状の集合体へと組み入れていくところにある。地層とは捕獲であり、いわば「ブラックホール」であって、圏内を通過するいっさいの物を引き止めようとする閉塞の現象なのだ。 – mille plate a u x ” , G i l l e s D e l e u z e & Fe l i x G u a t t a r i 066

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これが最終的な Strata の姿です．Herzog & De Meuron の Pixelated City になぞらえて，

020. final presentation: 2010.07.17

三次元的な拡張を許容する多様体としての都市を，Voxelated Slum という姿で設計しました．数個の大きめのヴォイドと南北の歩道，東西の大通り，端から成長するヴォリューム，

these show how the final strata looks like. just as herzog & de meuron’s “pixelated city”, voxelated

直角を基本とする外縁などといった特徴を持ちます．

slum contain relatively big voids, sidewalk lying north and south, boulevard lying east and west, volumes grow from the edge, gridded façade.

067

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Urbanum Stratum

022. exploded diagrammatic volume surfaces diagrammatic structure of the strata penetrated by main vertical axes: elevators and

021. sliced strata 068

voids.

horizontal direction means strata are more like a city.

newest stratum. expansion/growth of architecture in

showing how emergence works on the surface of the

023. 8f plan

10000

Y12

100m

10000

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GL+32000

MK LACKS SLUM. IN THE C I T Y O F PA R A N O I A , T H E R E IS NO PLACE FOR VULGARIT Y. M K H A S A L W A Y S B E E N A SAFE, CLEAN, HOMOGENEO US, E QUA B L E, DEA DPA N , MEAN, EXPENSIVE, AND DULL SPACE. IN THE CITY OF HYPER-ECONOMICS, THERE IS NO PLACE EVEN FOR BICYCLES...BECAUSE THEY ARE WORTHLESS IN TERMS OF ECONOMIC EFF I C I E N C Y. M K H A S A L W A Y S BEEN AN ECONOMIST: SHE JUST NEVER HAS LET A SLUM HAPPEN INSIDE HER. JUST LET CITIZENS BUILD THEIR OWN BUILDINGS, BECAUSE THIS IS NOT AN ARCHITECTURE. JUST LET ANYTHING OCCURS IN HERE, BECAUSE THIS IS N O T A N A N A LY Z A B L E S Y S TEM. THIS IS AN OVERS T A C K E D C I T Y, A N U N T A M E D I N S T I N C T, A B R U T A L ECOSYSTEM.THIS IS A PROPOSAL OF 12-TIMES-REF R A I N E D - G R O U N D – S T R ATA .

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024. UBB mine site plan 072

beware that this horizontal view drawing i found on the web coincidentally awkwardly resembles to the strata’s “vertical section drawing”. “A figure from the MSHA report shows the UBB mine with projected fault zone and locations of joints (green, blue), slickenslides (red) and floor burst locations (purple).”

GL http://blogs.wvgazette.com/coaltattoo/2011/12/07/why-didnt-msha-prevent-the-ubbdisaster/

Low Iron Glass 10mm Air Space 39mm, with integrated blinds Low Iron Glass 6mm, LOW-E Air Space 14mm Low Iron Laminated Glass 10+10mm

Triple Glazed One-way spanning Glass Panel 91mm

RooďŹ ng Membrane Insulation 200mm Vapor Barrier Concrete Slab 350mm Cooling/Heating Radiation System

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main strategy

cellular-automata

brahman

this is an anti against vertical growth of buildings and horizontal

in physics, there is no absolute space; all motion is relative. it is

some things could be absorbed there; some could not.

growth of the city.

also the case that all emergence is relative. consider a single gol

some things wont occur because flaneur are watching over.

i suggest the possibility of horizontally spreading microscopic

glider; viewed from a sufficient distance, a glider moving across

you want to trash something there? no you can't, because all mk

buildings and vertically uprising layers of city.

the screen is indistinguishable from a screen window being

civilians are monitoring you. painful moment of growth.

my proposal is a set of piled plans.

scrolled past a stationary glider. to perceive motion, there needs

still we need tons of rules. this is not tanzanian desert. we are

each stratums are just the boundary of building.

to be a frame of reference within the window. this could be a

actually not termites. we're the civilians.

visible grid, a stationary (or slower-moving) ca structure, or other gliders. the glider is then seen to be moving relative to the other

basic

contents of the window. all citizens in mk can build anything in the site. all citizens as (an architecture for modelling emergence in ca-like systems,

worker ant are supposed not only to build but also maintain and

2005, fiona polack et al)

run the nest. each stratum should support strata structurally, environmentally, and as a community.

you can build anything, anytime as long as it can endure 12-(its

i don't want to expect something that just doesn't seem to happen.

level) story-high strata above.

i don't want to fullfill the delusion/imaginery demand of the

the board game go tells us explicitly the importance of the void (in

imaginary customers...citizens.

if a cell chamber is completely surrounded by the other chambers,

this case, at least 2voids) in high-density urban condition.

even if you want to let some products (eg. a pen, a car, etc.) you

you have to resign owning the chamber. the void-ize fee must

at least need to design something. the place, on the other hand,

be paid by the owner of the last chamber which terminated the

does not need your full support. there might be a possibility that

surrounded cell. (minimum-maximum density strategy)

the space grows itself/generates itself naturally. risk the wrath of

each chamber in each large-chamber should connect to the

fl창neur to give citizens a breath of fresh air

dominant core directly.(trajectory strategy)

cellular-automata-based, or go-based void restriction.

customer-made voids should be preserved even on the upper & just let go.

074

strata. 90% of the area should be void.

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025. section perspective

urbanism

over stacking super-efficiency, over hanging Pax-architettura

the space would stink. the space would be a security vacuum.

repetitive settling of land is the most effective utilization of land.

here we show how overhanging and overstacking work when

still we need the void.

that is the basic idea of building higher and higher. overstack of

we suppose 10m*10m*3m units of the grid to be 10 identical,

anything that 'harms' the city/civilian is the payback of what they

super-huge slabs results in a massive megastructure, which easily

homogeneous, frictionless blocks of length 1. all figures and

have done to the city. we are not here for being tested how far

achieves 500% far.

quotes from overhang (mike paterson and uri zwick, january 2009,

we can tolerate. how far can we cram ourselves into space? how

but what about healthy environment? overstacked various voids/

the mathematical association of america)

narrow can we endure the roads? how high can we jack up both

courtyards solve the problem. sometimes from above, sometimes

residence area and the price?

from perimeter, and sometimes even from the ground, voids try to

the city is currently merely a source of panique. let there be the

engrave the ugly mass to be healthier.

overstack & its grid

nest, not "torture chamber (2007, virilio)."

basically, however, the megastructure is dark. high contrasts and

if the termites are a group of eusocial insects which has sterile

highdefinitionrange of dark-bright, mass-void, generic experience-

castes , japanese are a group of eusocial fauna declining and

special experience, and calm-cheerful, suggest the new structure

falling.

of mk.

the word "nest" doesn't mean necessarily only the residence

each slab/land/premises/city is so eager to expand that he runs

#a harmonic stack, the optimal solution under “the restriction that

usage. the nest absorbs and evacuates the air. the nest contains

off the edge of the slabs downstair. he runs off rather modestly,

there can be at most one object resting on top of another.”

spontaneity of mk civilians decides the shape. the land owner is

however, because he does not want to drop off. the overhangs

“how far off the edge of the table can we reach by stacking

just a land owner; citizens are the designers. mk designs its own

become huge eaves. maximum 60m long, 20m wide eaves are not

n identical, homogeneous, frictionless blocks of length 1? a

house to live in. there would be a surprise, regardless of good or

only for customers inside the building--but also for the passengers

classical solution achieves an overhang asymptotic to 1/2 ln n.”

bad.

all around the triangle premises.

#an optimal stack “we show, however, that it is exponentially far from optimality by constructing simple n block stacks that achieve an overhang of cn1/3, for some constant c > 0.”

075

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design process #1

design process

hyperstrata:

1st phase

urban ventilator

076

1. 2. 3.

都市における「敷地」という奇妙な白地をタブラ・ラサと捉える無地のキャンバスを可能な限り積層し，それを市民という建築家＝シロアリ＝ Termite に委ねる単一の知性により統制された建物というより集合知能により多様に築かれた都市の性格を帯び始める

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hyperstrata. urban ventilator

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design process #2 2010. May 28

発想プロセスシロアリの生態やその空調システム

+ 九龍城やファベッラのようなスラムでの創発的な形態

PAX ARCHITECTA

↓ 如何にしてデザインしないことをデザインするか？

Natural Canopy Top High Terrace

平面図は動線と自由曲線的な chamber の融合で成り立っています．より自由な断面が得られ，ヴォイドと島状の chamber が入り乱れる独特の形状をとりました．ふつう建物は縦方向に伸び，都市は水平に肥大化します．Strata においては建物は水平に押しつぶされ，都市

Building Pocket AKA VOID

は垂直に成長します．この建物を制限するものは三つのルールだけです．形態は起こりうる一例に過ぎません．

1. 指定された建蔽率に達するまで 2 階以上突出して建設してはならない． 2. 下階のヴォイドをみだりに塞いではならない． 3. 周囲の如何なる自由な活動も妨げてはならない． Building Pocket

078

Glass Oblique

PAX ARCHITECTA Building Pocket

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H O R I Z O N TA L G R O W T H OF BUILDINGS, VERTICAL GROWTH OF THE CITY

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design process #3 2010. June 18 Termites’nest は一定の評価を得る

理由はシンプルです：私たちは人間

シロアリにとってあの美しい曲面と

日本人にとって最も自然で有機的な

人間が猿から進化した猿の一種と捉

ことができましたが，更なるブラッ

であって，シロアリではありません．

優美な曲線のロフトによる究極に有

形態は，むしろ幾何的なのではない

え続ける限り，人間の作った物，人

シュアップを求められたとき，どう

機的な巣構造が如何に自然で当然の

か．

工物もまた，自然の産物です．

しても自由曲線による平面図に無理

産物であっても，

026. ground perspective photoshop on OpenGL render

が生じていると感じました．

ですから強迫的に幾何形状を避けて

3rd Phase“Strata: Urbanum Stratum”ではこのディレンマの解決を試

一見更に変化の激しい「有機的な」

いっぽうファサード内部では打って

オフィスの隣に銭湯が，その隣に

もほんとうの意味での有機体として

形状にかわったように見えます．目

変わって創発的な相互作用の場にな

ホームレスの貯まる空室，その隣が

の建築は得られないと思ったので

みました．

立った違いはないように思われま

ります．決定されているのは外縁だ

レストランで廊下を挟んで不動産

す．しかし内部でのストラテジーは

け，その内部は如何様にも建設可能

屋 ... といった混沌とした，しかしルー

大きな変革が加えられています．

です．

ルに律せられた不思議な自治が築か

す．

れることを期待した設計です．

<HK> *

<HK> .

<HK> /

<HK> 0

<HK> /

<HK> .

<HK> -

<HK> ,

<HK> +

<HK> *

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sponge condo critique: sejima kazuyo darko radovic et al. 2009 nov arch itecture

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sponge condo

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Sponge 2009 Autumn

requested condition: reconstruction of the kidzuki apartments which are plain right now. the floor area ratio should be higher than the present condition(100%) up to 200%. the building-to-land ratio should not be higher than the present condition. first i translated this request to the following: propose the way to double the number of residents without deteriorating the quality of them with the same 3d limit of... height, building-to-area-ratio, floor area ratio.

parallel slabs, which are the most popular solution for apartments in japan, causes desperate unavoidable shadow between those slabs. the same thing can be said to the courtyard type apartments. courtyard ones are superior in terms of efficiency.coutyard, however, could be seen as an apartments which is a connection of two couples of parallel slabs... *architectural robotomy* 3dimension things’ volume ‘cubicly’(in the power of three) grows up while their surface area only expands square. that leads to be a ‘dumb,’ ‘dull’ architecture, lacking the surface as a ‘canvas.’ ‘lack of the expression the architecture should have.’ ‘being in high density is one of the required condition to get rich diversity of a city’-jacobs, ceriticising lc and the garden city movement.

similar condition occurred in paris, 18c. in 1783 city wall was built and in 1784 17.55m height limitation was instituted. even though horizontal/vertical growth was stopped by those limitation, the population of paris doubled in early 19c. as the result of that, the courtyards in each squares in the city was 'filled' by extensions. that resulted in the dark apartments with 4 or 5 stories high. ‘there is no monument or palace any longer...there are many big hexahedron masses, which confines the god of the art who cannot express his greatness or his inspiration at all here and there aiming for vulgar and coarse type ...there is no courtyard or column corridor...the small rooms which getting tighter and tighter, devised living rooms for ladies and dens along corkscrew staircase..., the cabinet to fit human beings into it...this is the application of the system of jails into the family community. the issue was “to contain as many human as possible in the uniform space with the minimum amount of building materials.”’ – walter benjamin, quoting d.laverdan, 1845

the conventional ways to preserve/secure the ligh/the air, in other words, how to prevent architecural robotomy, how to balance surface area brought by robotomy and the light/the air which requires the surface area.

Auto-generated fa¡ ade. I used Excel to generate random lines by determining x- and the angle. Random is, I believe, the only tool for computers to generate 'beauty.' random numbers are beautiful. Therefore random lines are also beautiful.

South fa¡ ade

North fa¡ ade

to use glass all over the building. glass façade is one of the solutions to prevet decline of the surface area. on the other hand, we lose fair amount of significant performance, such as insulation, sound proofing and the privacy. as a matter of fact, all the apartments in kidzuki apts. in present are covered/protected/saved by curtains without any exceptions.

(fixed the 'boundary conditions' with the east/west fa¡ ade.) ordinary ordered mesh structure for east/west fa¡ ade.

to chop the apartments into pieces to result in a ‘herd’ of solitary houses or a ‘tower’ of them. the apartments with this idea contain few ‘shared’ walls, which is the most important characteristics of apartments. shared walls actually could cause some troubles such as living noize or the instruments, but enables us to live ‘efficiently’ because we do not have to insulate there. the more shared walls the apartments have, the more the building gets efficient. ideally the huge sphere(or the cube) is the most efficient and most dumb. avoiding the shared walls is the denial of the idea of apartments, living together.

to chop the apartments into a couple of pieces and to set the parallel slabs(present condition, circled one). one of the realistic solutions having no fatal problems. speaking of the extent of the surface area or the circulation of the air, crowding more would be better. the space between those slabs also are difficult to use except as a way or a parking. moreover , with the given condition to expand the residence area twice without any specific reason, choosing this idea must lead worse environment in those spaces because of the restriction of height.

to carve one huge void, a courtyard. pelimeter housing@england. ‘fresnel’s square’ that equals the square ‘inside’ to the ‘ □ ‘ shaped

084

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087

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Ground Floor Plan/Plot Plan. 1/300

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36000 43300

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the new oceanfront m1 spring spd joint project

2011 april – july landscape design project at chiba university department of horticulture

the new oceanfront is an spd joint project with graduate school of horiculture, chiba univ. originally being the most heavy-burden studio for the students in the faculty of horiculture, the outputs for the students from design science spd division spontaneously became things relevant to what they have done: we were required to propose a new oceanfront in gyotoku. the given site is dissociated from the other areas with two rivers: former edo river and edo river discharge channel. the site also contains one of the two imperial wild duck preserves, shinhama kamoba and a river belonging to the preserve also dissociate the site from urayasu area.

The New Oceanfront は SPD のジョイントプロジェクトである．千葉大学大学院園芸学研究科緑地環境学コースのスタジオ授業「環境造園学プロジェクト実習」に参加し，新しい海辺を提案するというものである．園芸学部の学生にとって最も負担の大きい，修士一年春の中心的授業であったため，SPD 学生にとっては未知の領域を考えることとなった．

1: 15 の与えられた目的から自由に一つ選びそれを最適 Optimum に実現

する Scenario を考えるスタディ．Mille Plateaux と題して，遊歩道と自転車道で自動車道を寸断し破壊しつくすことで全く新しいタイプの動線をもった海岸線とその周辺地域を形成することを考えた．

2: 逆に Worst Scenario を実現する，最も好ましくないデザインを考える．得た分だけ価値を失うという信条のもと，デザインは本質的に最悪であると定義した．すなわち最適と最悪は紙一重の差異しかないとする考え．

担当教員は三島由樹講師ほか．2011 4/28~7/17.

034. diagram: a chronological table

3: リサーチの中でも特に貢献した生態系の年表ダイアグラム．Charles Jencks の The Century is Over, Evolutionary Tree of Twentieth-Century Architecture を参考に因果関係を顕にした．

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094

http://ruriko.jpn.ph

publications: amazon via smashwords.com

web design & _brandings

a branding project for the author’s mother, an indie writer, translator – 2011.9

the website itself has been there since my childhood, but the site designed by merely a junior highschool stundent was not satisfying enough for today’s information society. considering the difference between today’s monitor size and specs for rendering the pages, the brand new web site was designed to serve a better peek for the current readers and the furture readers. this project was not limited to just the web designs. a brief branding design for the author as envelopes she uses for her marketing was created based on the concept of the web design using the same font and the same logo.

文筆業を営み絵本の翻訳にも携わっている著者の母のための自主制作

– 2011.9

自宅に設置されたサーバ（いわゆるホームサーバ）でのウェブサイトは以前から設置していましたが，そのデザインは私が中学時代に少し手がけてから何も更新されていませんでした．当時と現在のユーザ側の PC スペックの向上などを鑑み，新しいデザインを展開することにしました．このプロジェクトはウェブサイトのデザインに留まらず，マルチプラットフォームの電子書籍の販売，アマゾンアフィリエイトとの連携，簡単なブランディング戦略なども手がけました．ブランディングの例として営業に使われる封筒のデザインを掲載しました．ウェブデザインとの強い連携を持たせるため，同じ色，同じフォント，同じロゴを用いたミニマルなデザインを目指しました．

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008. ruriko.jpn.ph top page 2011.09 top page design for the writerâ&#x20AC;&#x2122;s web page.

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009. ruriko.jpn.ph literary works page 2011.09 introducing literary works web page design using spry assets for the better user experience.

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010. ruriko.jpn.ph lecture information page 2011.09 lecture information web page design. the author in the picture sitting in the middle embraced by mother.

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郵

便

は

が

便

は

が

き

1569-23. Karima, Tsukuba-City, Ibaraki, Japan. Ruriko Matsui

305-0822 茨城県つくば市苅間 1569-23 松井るり子

305 0822

305-0822.

茨城県つくば市苅間 1569-23.

松井るり子

tel & fax. +81-50-7554-7150 http://ruriko.jpn.ph rmatsui@dmail.plala.or.jp

099

100

appendix miscenaries

contribution: individual works

102

work shop

2011-

Chiba

oct nov + 29 14 TAiK

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028. helsingin tyรถpaja, 2011.11 workshop in helsinki, taken inside the helsinki central station building.

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ă&#x20AC;&#x20AC;helsingin tyĂśpaja textures, 2011.11 snapshots taken between whiles workshop in helsinki. 107

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029. fish-scale lepidosis, 2011.11 closeup shot of the skin of siika (coregonus lavaretus) caught with the unique fishing activity â&#x20AC;&#x2DC;lippo.â&#x20AC;&#x2122;

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030. brutal fishing (1) , 2011.11 closeup shot of the siika (coregonus lavaretus) bleeding on helsinki newspaper.

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031. brutal fishing (2) , 2011.11 closeup shot of the bottom of the siika (coregonus lavaretus) bleeding.

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032. board in white , 2011.11 whiteboard shots just for the record.

033. hi-dden hi-raganas in hi-ndi letters (with tamil), 2011.11 this is a kaushik eshwarâ&#x20AC;&#x2122;s handwritten my name in hindi (and tamil with @ ish letters) secretly embedding my name in hiragana inside them with perfect correspondence of each letters. so what? well, nothing, but this could suggest so many things.

Kaushik Eshwar 112

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Fig. 2-1 One of the Examples of Healthcare Activities Used in the Presentation Fig. 2-2 Deborah Discussing in Front of

Religion

Fig. 2-1

Wind Chime

Drawings Fig. 2-5

Fig. 2-3 Kaushik Drawing the Concept Image Fig. 2-4 An Excerpt from Midterm Presentation Fig. 2-5 Picture of an Elderly Lady in the City

Fig. 2-2

Fig. 3

of Helsinki Fig. 3 An Excerpt from the Final Presentation Slide Showing our Idea on Nordic Walking Fig. 5 Ota Consulting his Dictionary in

Fig. 2-3

Fig. 5

Discussion

The system recognizes her state of health and sends her a cloud of scent to make her feel at home. The lady then enjoys her treatment in comfort.

Friday 4 November 2011

Fig.2-4

1. Background and Purpose of the Design

3. The Proposed Service Design

In recent years, as the aging of society accelerates all over the world, elderly

With such plenty of examples of elderly people enjoying daily life and some

people’s healthcare has been gaining more and more attention. By 2050 nearly

hearing investigation, we finally derived three kinds of health care services

one in five people in developing countries will be over 60. The purpose of

that can produce pleasant experience for them. Fig. 3 shows one of them we

our proposal is to improve the relationships between elderly people through

proposed in the final presentation regarding to Nordic walking. In the idea

building up new communities for healthcare activities. Elderly people are

Nordic poles work as devices to connect the elderly people who also Nordic-

having great difficulties struggling against their loneliness and boredom.

walking in the city via cloud-computed community.

Loneliness causes depression and brings people to isolation and mental health

Prof McGory advised us that we should simply purchase one of the Nordic

related issues while boredom is mainly caused by the big amount of free time

walking poles and try them by ourselves and that talk to the elderly people who

combined with poor social interaction.

are actually enjoying walking.

Our midterm presentation held in the end of the first week was about a service regarding aroma, which bring the old experience freshly to the elderly people.

4. Conclusion

2. Process of Idea Derivation The workshop revealed that the purpose of healthcare for the elderly people can be produced as a community via enjoyable activities. We have picked up The workshop started with our presentation on our each own perspectives

three kinds of activities as examples: Nordic walking, transfer via train, and

toward healthcare, which was the main subject. My perspective was described

aroma experiences.

with the phrase “healthcare is fiction” in the presentation (Fig. 2-1) , because I have observed that the traditional Japanese healthcare schemes were strongly

5. Future Prospects

related to our own delusion of being healthy. As we expected, their views toward healthcare were utterly different from ours. This fact could be explained by the backgrounds we share and do not share: Japanese perspective toward health, the way of management of health, and what they call philosophy of

What I expected from the workshop was simple. It was to perceive every

health are so unique that sometimes they could even never understand the

“strange” and unique thing never would be seen in Japan while Helsinki would

ethics we have been cultivating.

have. While I have been to fairly many countries, Finland (or any Scandinavian

Fig. 2-3 shows our first presentation board regarding intelligent society for

countries) was where I might have chosen as the place to study as an

elderly people using cloud comuting. Fig. 2-4 shows our midterm presentation

exchange student.

proposal called Aroma Cloud, which is a sensory factor that do not get weaken

It goes without saying that this kind of workshop is fundamentally valuable for

through aging, that enables elderly people to feel at home even when in

all the university students who are studying design, but in my opinion there

hospital.

are two ways of “digesting” the experience. One way would be taking this as

After that, we sought for the service with sufficient reality. The motivation

mandatory and burden, and the other way is to enjoy it anyway. There was

that drives them to the system powerfully was the most important factor

one big obstacle between us and them: English. Electric dictionaries were

for the service - which can be concluded as pleasantness. An enjoyable

our best friend, but not for them (Fig. 5). Nevertheless, we still had sufficient

service is fundamentally healthy for elderly people, because that can be the

opportunities to enjoy the workshop not only through the subjects and the main

quintessential purpose of their daily life. Our task then moved to seek for the

discussion, but with somewhat hidden experiences such as minute chat with

enjoyable activities for elderly people, which were quite nice problems.

them and daily experiences throughout the visit.

Our idea needed actual field research for elderly people, and so we went out of the university for an observation. Fig. 2-5 shows an example of how Helsinki elderly people acted in the city. In the center of Helsinki and the site near the university we perceived multiple valuable observation. One was a Nordic walking old lady, and other was a group of elderly men fishing talking a little bit each other. 113

barcoded

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036. barcoded, 2011.09

“

inspired by anne-james chaton’s “poor

Anne-James Chaton has developed a

«ephemera», comprising a multitude of

and visual art, which he develops through

performances on the literary, rock and

literature”, the barcoded personal

multipolar body of work, based on a close

documents printed out by innumerable

solo projects and in collaboration with

électronic music “scenes”.

information using MD5 hash algorithm

study of the textual materials which make

machines - bank slips, shopping

artists from diverse fields.

”

and CODE 39 barcoding algorithm

up the everyday life of contemporary

receipts, promotional flyers, customer

shows how every txt message can be

society.

loyalty cards, business cards, bus, train

This continuous focus on ‘low intensity

and metro tickets, etc. – is the source of

literature’ has accompanied Anne-James

[cited from http://www.raster-noton.net/

Anne-James’ quests into sound, poetry

during his trips abroad for numerous

main.php?action=artists&dat=108]

compressed or decompressed into graphical visualisation.

114

This “poor” literature, known as

txt

chiba university minoru matsui graduate school: faculty of engineering design management laboratory+SPD [keio university faculty of science & technology department of systems design engineering. ] +81.90.6345.4853 fax +81.50.7554.7150 1569.23 karima tsukuba city ibaraki 305.0822 japan haliod.xerrox.copy.airfrance@ ezweb.ne.jp frail.aenima@gmail.com mino.dip.jp twtr: @xerroxcopy skype: frail.aenima

Message Digest Algorithm 5

F19D35CB536114FB6D32710D74057754

CODE 391 Barcoding

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_graphic_quadtree

quadtreeness

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035. quadtreeness (2011.12) quadtreeness is an example of a universally adoptable graphical method

space by recursively subdividing it into four quadrants or regions. the regions

each cell (or bucket) has a maximum capacity. when maximum capacity is

based on quadtree, a tree data structure in which each internal node has

may be square or rectangular, or may have arbitrary shapes. this data structure

reached, the bucket splits

exactly four children. this experiment is a coproductive graphic design derived

was named a quadtree by raphael finkel and j.l. bentley in 1974. a similar

the tree directory follows the spatial decomposition of the quadtree.

from the idea of voxel CAD through the investigation on the potential of

partitioning is also known as a q-tree. all forms of quadtrees share some

mathematical structure of future CAD. quadtree can be considered as a 2D

common features:

octree model. quadtrees are most often used to partition a two dimensional

they decompose space into adaptable cells

64mm

117

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32mm 64mm

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16mm 32mm 64mm

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16mm 32mm 64mm 8mm

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16mm 32mm 64mm 4mm 8mm

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16mm 32mm 64mm 2mm 4mm 8mm

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1200PPI=0.0021167mm 16mm 32mm 64mm 2mm 4mm 8mm

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AUTOGENERA MESH DIAGRA RU FE

Marc 2008r1, Build 49357 Windows_NT version

MSC Id:

-------------------------------: Job ID

Hostname: 2009/06/16

Program name

: marc

User objects/libs

00237d5227a9 (ethernet) (Intel) cc-y3033 (user fr072030, display cc-y3033)

License files: 1700@lic-marc.st.keio.ac.jp

11:41

CEID:

: H:\plainstress2_job1

User subroutine name :

TE M

5E832402-A3619885

Acquired 1 license for Marc Marc plainstress2_job1 begins execution

MSC Customer Entitlement ID

Restart file job ID :

5E832402-A3619885

Substructure file ID : Post file job ID

Defaults file ID

general memory increasing from

View factor file ID :

start of assembly

Save generated module: no

wall time =

Auto restart

Host file

cycle number is 0.00

Contact decoupling : 0 Number of tasks

Date: Tue Jun 16 11:41:49 2009

Marc execution begins

Distributed i/o

Run directory

: H:

Scratch directory

: H:

general memory initially set to =

start of matrix solution wall time =

0.00

singularity ratio

8.5017E-04

25 MByte

Default bin directory: C:\MSC.Software\Marc\2008r1\marc2008r1\tools\..\ bin Material database AF_flowmat\ 130

25 MByte to

VERSION: Marc 2008r1, Build 49357, Jul 2, 2008

maximum available memory set to = 2047 MByte : C:\MSC.Software\Marc\2008r1\marc2008r1\tools\..\ Date:

Tue Jun 16 11:41:49 2009

53 MByte

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Meshed Me Marc Mentat Makes

_graphic 5 _graphic_appendix

ED Marc/MEN M M IS FOR

end of matrix solution

kinematic boundary conditions:

wall time =

points, curves and surfaces:

0.00

mem_none: total memory =

89 MByte

wall time =

24672

element storage:

221894

material properties:

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miscellaneous

1.00

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875

TAT INO RO CK S

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total time:

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0.1 1.0 0.0 7000000

7576

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This is a successful completion to a Marc simulation,

Returned 1 license for Marc

indicating that no additional incremental data was

memory usage:

MByte

general memory allocated:

14001931

general memory used:

53323

found and that the analysis is complete.

words % of total peak memory usage:

105

27555531

within general memory: element stiffness matrices:

solver: first part

18786

33144

overallocation initial allocation

other:

1393

0.1 0.1

13948608 0.0

total time for stiffness assembly: 8

1993140

nodal vectors:

55007

defined sets:

184

transformations:

wall time

total time for input:

allocated separately: solver 8

timing information:

1134

8.6 0.2 0.0 0.0

cpu time

**************************************************************************

59.8

total time for stress recovery: total time for matrix solution: total time for output: total time for miscellaneous:

0.08

0.03 0.00

0.02 0.05 0.03 0.48

0.00

Marc

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Inc: Time:

0 0.000e+000

2.816e-001 2.535e-001 2.254e-001 1.972e-001 1.691e-001 1.410e-001 1.129e-001 8.478e-002 5.666e-002 2.855e-002 4.311e-004

Y Z

MyBridge Equivalent Von Mises Stress Inc: Time:

0 0.000e+000

2.816e-001 2.535e-001 2.254e-001 1.972e-001 1.691e-001 1.410e-001 1.129e-001 8.478e-002 5.666e-002 2.855e-002 4.311e-004

Y Z job1 Equivalent Von Mises Stress

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Nyquist Plot

0.4 6dB

0.3

4dB

0dB

2dB

-2dB

-4dB

-6dB

10dB -10dB

Imaginary Axis

0.2 20dB

0.1

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0 -0.1 -0.2 -0.3 -0.4

-1

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-0.7

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-0.5

-0.4

-0.3

-0.2

-0.1

Real Axis

2.0 1.8 1.6 1.4 60720306 松井実問1

(1-1) K=1; t=0:0.1:17; om=1.3; zeta=0.1 while zeta<=1 sys=tf(K*om^2, [2, 2*zeta*om, om^2]); [y,t]=step(sys,t); plot(om*t, y) hold on zeta=zeta+0.1 end axis([0 17 0 2.0]); xlabel('\om t') ylabel('y(t)') grid

y(t)

コンピュータシミュレーションレポート課題

1.2 1.0 0.8 0.6 0.4 0.2 0 0

ωt

(1-2) *K=2* w=logspace(-5, 5, 5000); G_1=tf(2, [1 -1]); nyquist(G_1, w) grid Nyquist 軌跡が (-1, 0) のまわりを反時計方向に１回転しているので N=-1 L(s) は不安定な極を１つ (s=1) もっているので、Π =1 ∴ Z=-1+1=0 ∴安定

*K=3/4* w=logspace(-5, 5, 5000); G_1=tf(3/4, [1 -1]); nyquist(G_1, w) grid Nyquist 軌跡が (-1, 0) のまわりを反時計方向に０回転しているので N=0 L(s) は不安定な極を１つ (s=1) もっているので、Π =1 ∴ Z=0+1=1 ≠ 0 ∴不安定

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FLAIR

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MIP Range [1]

MIP_Range[2]

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張儀（ちょうぎ？ - 紀元前 309 年）は中国戦国時代の遊説家、政治家。魏の人。蘇秦と共に縦横家の代表的人物とされ、秦の宰相として蘇秦の合従策を連衡策で打ち破り、秦の統一に貢献した。張儀は若い頃、蘇秦と共に鬼谷子に学び、その後諸国を遊説したが、中々受け入れてもらえず、楚の大臣に従って宴会に出た時には窃盗の疑いをかけられ袋叩きにあったことまである。傷だらけの張儀は妻に対し「舌はまだついているか？」と聞き、ついていると返答されると「舌さえあれば十分だ」と答えたと言う。その後も不遇だった張儀はすでに趙で出世していた蘇秦を頼って行った。しかし予期に反して大いに侮辱されたため、発奮した張儀はこの屈辱をばねに秦に仕官する事が出来た。だが、この時仕官に必要だった資金は蘇秦がひそかに出したものだった。燕と趙を同盟させた蘇秦は、張儀が秦で出世して同盟が定着するまで趙を攻めないよう秦王に働きかけさせるためにわざと張儀を侮辱したのである。人からその話を聞いた張儀は感じ入り「蘇君が在命のうちは自分にはなにもできない」とへりくだった。張儀はその後、魏を討ち、上郡・少梁を獲得した功績で宰相となった。しかし魏が斉に接近するようになると、魏の宰相となり、秦と魏の同盟を成立させ、再び秦の宰相となった。この際、かつて張儀を袋叩きにした楚の宰相に対し、「あなたはかつて私を疑い、ひどい目にあわせたが、今度は本当にあなたの城を奪ってやる。」との文を送りつけたと言われている。紀元前 316 年、蜀に内紛が起きたのでこれに乗じるべきかと恵文王に問われた時に張儀は韓を攻めて、周を恫喝し、天下に号令すべきと説いたが、恵文王は司馬錯の献言に従い蜀を占領した。 140 313 年、張儀は対楚工作に入り、楚に対し商・於（かって商鞅が封ぜられた土地）の地六百里四方を割譲するから斉との同盟を破棄して欲しいと申し入れた。楚の懐王は喜んでこれに応じ、斉との同盟を破棄して、将軍紀元前に秦に領土を受け取りに行かせたが、張儀は六里四方の土地を割譲すると言った。これに楚の将軍は約束は六百里だと猛烈に抗議するが張儀はとぼけて相手にしなかった。懐王は大いに怒り、秦に対し出兵したが、大敗する（藍田の戦い）。その後、秦から楚に土地を割譲する事で和睦しようとしたが懐王は「土地など要らぬ。張儀の命が欲しい。」と言い、これに答えて張儀は楚に行った。張儀には生還する策があった。懐王の寵姫に人を使って「秦は張儀の命を救うために懐王に財宝と美女を贈るつもりです。もしそうなったらあなたへの寵愛はどうなるでしょうな」と言わせ、不安に思った寵姫は懐王に張儀を釈放する事を願ったので懐王は張儀を釈放した。その後、恵文王が死に、張儀とは不仲であった太子が即位し武王となった。張儀は誅殺を恐れ、策があるからと言って魏に逃げ、魏の宰相となって一年後に没した。

http://ja.wikipedia.org/wiki/%E5%BC%B5%E5%84%80

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thesis rudolf steinerâ&#x20AC;&#x2122;s design principles and methods for manufac turers

super visor: profe ssor darko radovic

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thesis

für produkt und nichtprodukt

chapter 1

introduction

fig. 1 “anthroposophic cosmology” drawn in 1921.10.9 (steiner et al., 1996:14)

might be a part of the answer. objects. we have three fundamental objects in the thesis. “if you want to acknowledge the universe, look at thyself. if you want to acknowledge human being,

1. to clarify rudolf steiner’s design principles and methods from his works. 2. to clarify the direct or indirect influence of steiner’s design principles and methods over the following manufacturers’ various sorts of design.

look at the universe.” 3. to establish a new perspective of synthesizing the concurrent identity. methods. d=thoughts, f=emotion, w=will.

it is not easy to reveal the flow of design handed down from father to sons, without any previous

blue spiral=movement of the universe flowing from past.

researches with clear focus on the topic. therefore the method we adopt is fairly primitive yet

orange spiral=movement of the universe heading to the future.

comprehensible.

background: rudolf steiner.

1. literature review. although there have not been enough researches, we still have plenty to extract

rudolf steiner is unexpectedly unrecognised as a designer. while many of people who are concerned

and establish the fundamental principles and methods from them. -chapter 2.

with architecture know the name, rudolf steiner has not gained broad attention from everyone yet. in

2. photo analysis of the manufactured products. - chapter 3.

this section we reveal the importance and the potential his works have toward future design.

3. matrix analysis of 1. and 2. -chapter 4. structure of the thesis

1.1

in this thesis we first discuss the unique architecture and other works including waldorf education

who is rudolf steiner?

in chapter 2. analysing the processes behind the artistic work, we clarify his consecutive flow

rudolf joseph lorenz steiner (1861.2.25-1925.3.30) was an architect, philosopher, educator, painter, sculptor, script writer, esotericist, occultist, and anthroposophist. highly regarded for his education system, commonly known as waldorf education, he has also created masterpieces in various field of design, ranging from his blackboard drawing, via paintings and sculpture, to architecture.

starting from anthroposophy via anthroposophical principles, design principles, design methods to the works in chapter 3. after that, we discuss the overall influence of steiner’s works, especially the architecture, upon the design principles and design methods of his manufacturers in the latter part of chapter 3. we pick up various products derived from waldorf education, various architectures derived from steiner architecture, and various graphic design cases. with those results revealing the inseparable relationships between steiner and those designs in the beginning of chapter 4,

fig. 2 steiner in his young days and his signature (agematsu, 1985.)

steiner intended his architecture to be a gesamtkunstwerk (a synthesis of the arts). though the bauhaus movement also intended architecture as an integration of the arts, the outcome of both architectural activities are pretty much different. while the bauhaus movement eventually found functionalism as an answer, steiner achieved his original objectives. his architectural works and a sculpture work play the central part of the thesis, and thus we review the literatures in chapter 2. 1.1.1

why is his works worthy of researching?

the neglected designer and artist, rudolf steiner, has not been researched what he would have deserved. in spite of the disregard today, steiner actually influenced the europe for a while and used to be famous enough to be accused by adolf hitler. the influence of steiner is not only limited to his disciples. according to agematsu (1974:292-323), steiner influenced well-known artists including franz kafka(1883-1924), wassily kandinsky(1866-1944), piet mondrian(1872-1944), and richard neutra(1892-1970). le corbusier(1887-1965) visited the second goetheanum under construction in 1927. the second goetheanum is regarded as a pioneering work of concrete construction. as opposed to the einstein tower by mendelsohn and neutra, the second goetheanum was constructed exclusively with concrete. “‘looking at the west façade of goetheanum being under construction, le corbusier called out “you should leave it as it is!” [...] he observed the whole buildings with great interest, saying ‘oh, la! la!’ over and over again. [...] he said that the heizhaus [later discussion] looked like a cutlet of lamb. and with complete sober face, he said that the goetheanum was impressing. [...] le corbusier, i think, fostered the impression from the goetheanum through his life and later on it got visible, yes, in the church in romchamp’(agematsu, 1974:324)” fig. 3 floor plan of la chapelle de ronchamp by le corbusier (le corbusier, 1957).

fig. 4 perspective view of la chapelle de ronchamp by le corbusier (le corbusier, 1957).

we do not discuss the influence of rudolf steiner upon le corbusier or any others in this article. still, considering how influential the ronchamp (constructed in 1954) has been to this day, what ‘ancestor’ rudolf steiner did in 1924 is worth researching. frank o. gehry(1929-) also visited the goetheanum while the construction of vitra design museum. according to igarashi (1998) and walfgang pehnt in steiner et al. (1996:143), gehry visited the second goetheanum while he was making conception for the concrete sculpture for the museum. fig. 6 perspective view of vitra design museum (dal co et al., 2003) fig. 5 model for vitra design museum (dal co et al., 2003)

1.2

the manufacturers following steiner.

we deal with some of the manufacturers related to steiner. the field is actually so vast that we choose the followers outlined below. 1. ostheimer: a german handcraft wooden toy manufacturer with handicapped employees. 2. stockmar: a german beeswax crayon, and watourcolour painting manufacturer. 3. camphill botton village: a british movement for a community by mentally handicapped and healthy people producing handcraft wooden toys. 4. choroi instruments: a german lyre and harp, wooden flute manufacturer with handicapped employees. in addition to those manufacturers, we analyse various sorts of products that are used in waldorf education. the reason why we choose those 1.-4. manufacturers is that they clearly admit they are following steiner’s principles. why are they worthy of researching? as the management of companies diverse, establishing a concurrent identity and image of the manufacturers, especially the big corporations, is one of the most pressing needs for them. in chapter 3, we clarify the direct connection of steiner and his manufacturers in sense of principles and methods. in chapter 4, we point out the possibility of steiner’s followers’ way of establishing it 144

we discuss the possibility of interpreting the whole system working as a kind of corporate identity through the discussion on his unique perspective of the world (4.2) . although his ideas are clearly different and confront to that of “corporate,“ we conclude that his way of structuring the design synthesis (not unification) is strongly lighting a new way of design. table 1 chronology of rudolf steiner (source: carlgren et al. (1996), http://wn.rsarchive.org/lectures/ ga258/english/rsp1993/antmov_chrono.html)

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chapter 2

literature review

there have not been enough researches on steiner and his architectural works. literally no one is

(see 3.1.1 iv. for more details).

researching the toy makers, presumably just because toys here we review some of the few previous

2. the colour of classrooms changes as the grade moves into upper one.

researches related to steiner architecture.

fig. 9

we separate the chapter into 4 in order to make it easier to comprehend. a. 2.1 – 2.3: japanese thesis: kindergarten architecture, waldorf school architecture, and goethe. b. 2.4–2.6: literatures on waldorf education: overview, watercolour painting, and form drawing. c. 2.7: review through steiner’s architectural career. d. 2.8-2.10: associated readers: corporate identity, walter benjamin’s perspective, and future 2.1

a study of steiner infant education space in japan.

2.3

the “me tamorphose” of the organism and human formation

sekimata, yoriko; matsumura, keiko; sakae, reiko; uemura, yuuko. 2003, the “metamorphose” of the organism and human formation: the deperture[sic] from goethe’s “morphology”. kagawa prefectural college of health sciences. no. 5, pp. 141-148. in this literature the authors explain the descending ideas from goethe to steiner and its evolution originated in goethe. although steiner was strongly influenced by goethe, he did not follow goethe

a study of steiner infant education space in japan-the relation between the educational ideas and

blindly. rather, steiner developed additional principles over goethe.

space[sic]-kawakami, masamichi et al. 1998.

“steiner points out that the philosophy of goethe lacks ‘transition from the experience in nature toward that in spirit“ and that the way of acknowledging has its own limits. steiner goes further to

this article focuses mainly on the relationships between waldorf education principles and the

investigate the field where goethe would not step in. [...] in 1897, steiner finishes his work on goethe

architectures of waldorf education kindergarten. the authors interviewed eleven educators of waldorf

in weimar by publishing ‘goethes weltanschauung (goethe’s perspective of the world).’ (sekimata et

kindergarten in japan and three architects for those facilities. from the result the authors organised

al., 2003:143)” weimar was where once goethe served as the chancellor and where j.s. bach once

the principles and space. the authors then discuss the present conditions of facilities. according to

served as a court musician.

kawakami, the principle of education classified into three elements.

“ [...] steiner interprets the mechanism of acknowledgement as follows. mechanism of acknowledgement by goethe

i.) stabilization of spirit. in childhood human souls, which are divided into four, are infant. for the sake of good growth, they

1st phase: to observe things in the outer world. ‘to perceive.’

intend to stabilize the soul without acting to them directly.

2nd phase: to know intuitively the ‘idea’ of the things. ‘intuition - emotional component’ 3rd phase: to think about the intuition. ‘self intuition - philosophical component’

ii.) cultivation of body.

on the third phase, steiner insists that ‘goehte lacks an organ to look at the deepest original nature

through diverse experience of feeling from the world of nature: seasonal tables, sand pit, ponds etc.

of human being and to observe oneself.’ (sekimata et al., 2003:144)”

architectural forms that work upontheir feelings: lintel, high roof etc.

after that, sekimata et al. (2003) explains briefly on the goethe botany. “in 1787, goethe finds the principle of growth and reproduction of plants. he calls ‘internal form’ of all plants ‘a type (typus).’ a

fig. 7 examples of high roof in freie waldorfschule heidelberg (agematsu, 1998:179).

iii.) education of will.

leaf is the fundamental organ, that is to say prototype, and therefore the form of all the other organs

to install some spaces such as:

of plant are transformed leaves. about this plasticity, goethe generates a hypothesis: ‘all are leaves.

and with their simplicity, they gain the best diversity.’

a.) a kitchen

as a work space for adults, a kitchen in a waldorf kindergarten classroom is an objective of imitation.

constructive organs repeat ‘will to form’ (rising up) and ‘shrinking and expanding’ (polarization) with

their complex[sic] and upgrading. that is to say, leaves get refined under the condition of surrounding

b.) a small compartment, a temporary corner

small segmentation of space reconstruct the atmosphere of home.

environment to mutate into various organs such as calyx and petal. [...] this is exactly the transition of

going beyond (meta) the form (morphe). (sekimata et al., 2003:145)”

c.) a spacial device

spacial devices are to make children aware of their action. all a., b., c. are for bring up their will.

2.4

then the authors discuss spacial principles in waldorf kindergartens. a.) morphology. (later defined as principle of weight and support, design method of chamfering, filleting, and organic shapes) “the form [of classrooms] are closely related to i. )stabilization of spirit and ii.) cultivation of body. to children who have no concepts, the whole surrounding such as walls and roofs should intend to equally wrap them around with harmony, and thus should be in obtuse angle.”

literature review on waldorf education.

citation: carlgren, frans; grosse, rudolf; weissert, erns; klingborg, arne. 1982, erziehung zur freiheit: dd. pädagogik rudolf steiners; bilder u. berichte aus d. internat. waldorfschulbewegung. takahashi, iwao, takahashi, hiroko trans., stuttgart, verlag freies geistesleben, 210p. japanese title: 自由への教育〔日本語版〕ルドルフ・シュタイナーの教育思想と国際ヴァルドルフ学校運動の教育実践 . steiner, rudolf; oberhuber, konrad; kugler, walter; pehnt, wolfgang. 1996.11.30, rudolf steiner blackboard drawings - when earth becomes moon. takahashi, iwao, trans., kugler, walter, ed., tokyo, chikuma shobo, 154p. japanese title: ルドルフ・シュタイナー遺された黒板絵 .

b.) theory of colour. (later defined as principle of chromatics in chapter 3) “colour [of classrooms] are related to i.) stabilization of spirit. with the interior painted in pink, children get calm green colour inside their heart.” c.) interior space principle. (later partly defined as jelly cup principle.) “interior space is related to ii.)cultivation of body and iii.) education of will. [...] to have his own space, [...], to restrict the apertural area to make [a classroom] as an interior space to concentrate to their play and to separate from exterior space.”

steiner worked in so wide range of activities that it is impossible to have a quick look on all of them. for the sake of compactness, here we introduce one of them, waldorf education. because this thesis focuses on the design side of steiner’s works, we do not introduce the education system in details, which is so vast. waldorf education contains enormous amount of steiner design. he himself had lectured to his disciples. the famous blackboard drawings bring down the atmosphere of the lectures as seen below. in this thesis we quote his blackboard drawings and the lectures several times.

d.) materiality. “materiality is related to i.) stabilization of spirit and ii.) cultivation of body. to use natural materials that give a multiple of emotional experience.”

here we review an introductory reader explaining the basic methods of waldorf education. carlgren et al. introduce actual form drawings, watercolour paintings, epoch notebooks (special notebooks with paitings and drawings along the classes, imitating the blackboard drawings by their teachers), portrait shots of classes, and so on.

e.) exterior space principle. “exterior space is related to ii.) cultivation of body and iii.) education of will. to produce a natural field where they can experience elemental.”

2.4.1

follower’s attitude toward education

the episode from the book might tell the nature of waldorf education most explicitly. as seen in chapter 1, waldorf education is based on steiner’s philosophy and thus the followers put their best

2.2

a study on the educational environmento[sic] and the educational philosophy in

steiner’s [sic] school.

effort in complying with steiner. however, they do not just follow steiner blindly. take “the earth was once a gigantic beast.“ although they do appreciate the philosophy of steiner, they adopt the idea that today’s recent study has shown, which is that the earth is (at least in a practical side) not dead

kobayashi, kiyotaka; tkahashi, atsushi. a study on the educational environmento [sic] and the

(carlgren et al. 1982:161).

educational philosophy in steiner’s [sic] school. 日本建築学会大会学術講演梗概集（関東）2001.9

this incredible flexibility they have achieved is the characteristic of almost all organisations

pp. 19-20 japanese title: r・シュタイナーの思想と建築から見た教育環境

associated from steiner. if needed, they even clearly deny what their ‘professor,’ steiner, said. as niederhauser (1983) insists, it is impossible to ignore the philosophical part of stiner and only to

in this article kobayashi et al. introduce the design methods in waldorf schools. 1. the form of classrooms grow along the growth of students.

adopt his educational system. instead, today’s waldorf education organisations seek the way to harmonize the anthroposophy and cutting-edge science. see carlgren et al. (1982) for more details.

fig. 8 application of the diagram: classroom plans for waldorf schule heidenheim (http://wildgreenyonder.files.wordpress.com/2007/05/classsroom-shapes.jpg)

waldorf classroom starts with hexagon, a geometry that is close to the circle and thus cover children gently. then classroom slowly becomes angular and eventually becomes perfect rectangle in 8th grade. this is based on the idea of goethean theory of evolution, which starts with urpflanze (perfectly simple archetype) and evolves into more complex form, and then get simpler again, but not the same simplicity as it is used to be before. the simplicity after complexity gains a higher simplicity than before (agematsu, 1974). from 9th grade, the starting point of the latter part of the 12 years of waldorf education, the form gets round again. it appears that the complexity drops off as it gets rectangular and then leap

fig. 10 “the earth was once a gigantic beast” drawn in 1922.9.20 (steiner, 1996:24)

“the earth was once a gigantic beast. speaking from the size, it was fairly lazy rolling around the axis slowly in the cosmos. but the beast was watching the cosmos through a dragon, which only existed as an eye. and eating fire as i have told before is very close to the function of stomach and guts in human body. and the dragon is out of the same mould of brain cells. today’s earth is a dead beast. (steiner, 1996:24)” the curriculum of waldorf education as follows show the unique character of the system, containing unusual classes such as eurhythmy and form drawing.

upward as again, but it is not the case with steiner. for steiner, circle is the simplest and perfect form 145

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schroff, lois. a painter’s handbook: experiencing color between darkness and light

figure as a statue and trace inside your heart.” (niederhauser, 1983, p. 18) “these seemingly simple practices are all rooted to the new instincts steiner projected to overall

in 2.4 we have taken a quick look on waldorf education. in 2.5 and 2.6 we pick up two from the

artistic things, especially statuary and figurative arthings.”p. 31

curriculum: watercolour painting and formdrawing. why these, why not something else? it is because

“the distinction of waldorf education is to develop everything from things produced through artistic

those classes represent the principles of steiner directly. through watercolour painting we can take

means.” p. 32

a sneaky peak into the world of steiner chromatics. through form drawing we can take a sneaky

“one must not negate the feature of the diagram as static motion by coloring. rather, it is better to

peak into the world of steiner’s geometry, metamorphosis, weight and support, and organic form

accent the characteristics by coloring further more.” p. 50

figuration process. these classes are, so to speak, the sections of the world of steiner.

form drawing to geometry, 5th grade

the book essence of colour by rudolf steiner focuses on abstract principles of colours and therefore

“thus the students [in fifth grade] have those simple geometric diagrams containing lost of principles

difficult to understand right away. rather, a follower’s explanation of chromatics by goethe guides

in their limbs, so to speak.” p. 53

the beginners of chromatics to the right direction of understanding. fig. 15 geometric forms in a mathematical textbook (baravalle, 1991:18, left) and a typical geometrical frame in waldorf school (right) .

intellectual diversity of proof, 7th grade “moral aspects: the title of this chapter is taken from goethe’s theory of colors, part 6, and is meant

“in the system of geometry, the pythagorean theorem is one of the most important part which shall

to imply that there are aspects in us, in our work, and in the world to be considered which are not

be raised many times to develop further more. [...] teachers let students to proof for the first hand.

tied to the physical.

after that, students in this degree would be especially attracted when introduced various proofs

we find ourselves in the physical world but if we reflect on our inner needs and qualities, we realize

such as indian way of proof, arabian way of proof, tempelhof’s proof, and, of course, artistically-

that we are not only physical. stones are physical. plants have both physical substance and life.

structured euclidean proof. [...] diversity of proofs is typical for human effort to cognise. [...] “ p.59

animals have physical substance, life and desires. humans have physical substance, life, desires and

viewing the truth from various kinds of aspects shares the aspect of rhizome. in rhizome, deleuze

several other characteristics which differentiate them from the othres: human beings can reason,

and guattari criticise dualism and centricity as one of the flimsy tree systems. see 2.7 rhizome.

walk upright, and communicate their deepest thoughts in words. perhaps the human being’s most

platonic solid, 7th grade

important word is, “no!” the ability to effect change, to refuse to obey instincts, is characteristic of

in seventh grade, they start drawing a new dimension: space. even though it produces a better-

the human being alone. these factors are reflections of our soul-spiritual relationship.

looking drawing, the educators do not employ the imitative drawing from completed models. instead,

it is impossible to truly consider darkness, light and color, without realizing that their existence is

they try to produce the form gradually. starting from a cube, students develop their own space

not dependent jupon the physical. as painters, we cannot avoid using these elements as our tools,

conception step by step. pp. 61 - 62 fig. 16 geometric plan for the first goetheanum. (agematsu, 1974) original drawing black on white.geometric drawing by a waldorf student. (carlgren et al., 1982)

buyt the way in which we use them (which is a reflection of our attitude toward them), makes all the difference.

2.7

steiner’s 6 architectural works.

darkness and light are, as goethe called them, “ur-phenomena,” or primal phenomena which existed from the beginning, while all else evolved thereafter. they are realities. we call them spiritual or cosmic realities because they are not physical realities. colo is a product of the working together of the darkness and the light. what is this color besides color? it is made up of beings in a world obscured from our ordinary sense-related vision. [...] however, we see only”through a glass darkly” and therefore make many errors. corlor is inside us as well as outside. [...] our moods, feelings and emotions have color.” fig. 11 a paint by a student in stuttgart, around fourth grade. (carlgren et al.1982:107)

note that the paint is not in art class but in zoology. in the paint he directly expresses the emotion of digestion. for him, digestion is purple. “the soul world of color weaves in and out of us with no regard for our physical body. we constantly live with our emotions and therefore also with the whole color-soul world. [...] we live with the colors and forms provided by nature and find them beautiful, inspirational, aweinspiring.” (schroff, 1985:56)

agematsu, yuji. architecture as the perspectiv e of the world. 3rd ed., sagami shobo, 1974, 335p. 世界観としての建築

– ルドルフ・シュタイナー論

to understand what the goetheanum is trying to tell, we need to understand how the spiritual background of the building works. the artistic works themselves do not appeal to the cognition but to the artistic feeling. the works of steiner, however, can enrich their quality of feeling even more with verbalising our own artistic experience consciously. we introduce his main works as outlined below. 1.

interior design for a munich theosophy conference floor(1907).

model haus (1908-9).

the ground floor theosophy conference hall in stuttgart (1911-1912).

the johannesbau project (1912).

the first goetheanum and surrounding buildings (construction in 1913-1920, arson in

fig. 12 movements of the individual colours (schroff, 1985:44)

the author proposes the given, particular movements for each individual colours there. here we present the practical works by the author.

1922).

fig. 13 “women before the tomb” by schroff (1985:25)

“powerful light washes away color for our perception. complete darkness makes color invisible.

between the poles of maximum light and infinite darkness, color lives. aristotle taught and goethe

renovation in 1998).

wrote a treatise on, how color arises. first, to perceive color which is not fixed in matter, we need our atmosphere, or something to simulate a semi-transparent substance through which to look (goethe used the german word “trübe” to describe this substance, which word has a greater meaning than

the second goetheanum (construction in 1925-1952, grosse hall in 1953-1957, major

2.7.1

interior design for a munich theosophy conference floor (1907).

our word ‘atmosphere’).

steiner started his career as an architect with the interior work in theosophy conference in munich,

goethe explained the two ‘boundary phenomena’ which he called ‘lightened darkness’ and ‘darkened

1907. he designed the interior of the floor of the conference. inside the concert hall, which had been

light.’ lightened darkness results in our ability to see the cool range of colors from deep dark purple

chosen as the floor, he covered the whole walls to the roof with vivid rouge clothes. above the chair

through indigo, the blues and turquoise – each color lighter than the preceding one. darkened light

was painted with zodiac (agematsu, 1974).

allows us to perceive the warm range of colors from yellow-green through yellow, orange, vermillion and carmine red – each color darker than the one preceding it, until again we arrive at darkness. we are dealing here with pure colors as they are seen through the prism (schroff, 1985:16). ” for the followers, painting colour is not painting exactly the same colour of the object through our eyes. rather it is about painting the colour of form, the colour of movement, the colour of inner spirit, and the colour of experience. take a look at the following paintings of octopuses and squids, and remember how the paintings in our childhood looked alike in the back of the class. as they paint the eyes, the heads and the arms that are used to be their rips with the surrounding underwater environment, the difference of their perspective and their composition get clearly cognizable. another example of a painting of octopus in an epoch notebook

fig. 17 theosophy conference floor in munich, steiner in the front seat 5th from left. (agematsu, 1998)

2.7.2

modelhaus (1908-9).

modelhaus is literally a house for a model. steiner mainly designed for the conceptual part of the plan. moved deeply by the theosophy conference floor in muncich, karl stockmeyer, an architect, based on his free will, started drawing plans and making models based on steiner’s principles. eventually he and steiner reached a ellipse programme with seven columns around, which survived through the first goetheanum, and even to the second goetheanum. with the following pictures (agematsu, 1974) we can see a prototype – “urpflanze” of his main architectures. now that the first goetheanum burnt down and that the ground floor theosophy conference hall is no

fig. 14 an extraction from an epoch notebook for biology in 11th/12th grade (carlgren et al., 1982:173)

as opposed to the one in the zoology class, this one shows the two conflicting form of living things:

longer available, this humble small model house is the only “architecture” with a dome steiner was

inner figure and outer figure. “octopuses and squids can express their emotion by using various

directly concerned.

colours and form. (carlgren et al., 1985:172).

fig. 18 fig. 19 a plan, two sections, and an exterior view of modelhaus by erich zimmer. (agematsu, 1974)

2.7.3 2.6

form drawing.

the ground floor theosophy conference hall in stuttgart (1911-1912).

around 1911 stuttgart lodge of theosophy-anthroposophy decided to build their own architecture and built this conference hall under ground. the columns are carved out of sandstone and the dome

niederhauser, hans rudolf; takahashi, iwao. 1983, form drawing. takahashi, iwao, trans., tokyo,

is painted. until the first world war began in 1914 the ground floor is used as a small lecture hall. in

sorinsha, 140p.

1935, however, nazi closed the anthroposophy itself and destroyed the hall too. following picture is one out of only two pictures available today.

it seems that steiner installed the fundamental principles of waldorf education into form drawing. fig. 20 perspective interior view of ground floor hall. (agematsu, 1974)

1. thorough pursuit of truth and acknowledgment of the system behind events

due to the absence of enough source for the project, we cannot compare it with others, but any

2. radical application of human body motion

rate, from the figure above we can see he used more than seven solumns in the hall unlike any other

steiner introduces the principle of antipole diagrams, which are straight lines and curved lines. he

projects.

considers straight line as an expression of thought and curved line as an expression of will. that was the first step of form drawing. as johannes kepler addresses in his harmonice mundi, “god chose

2.7.4

the johannesbau project.

straight line and curved line without hesitation as the first step of creation of universe. with them, he

johannesbau came out from the “inner necessity of telling what this spiritual science[anthroposophy]

drew the divinity of author of our being to the world.”(kepler, j. )

intends with the different expression means other than just thoughts and words to the fellow citizens

steiner explains what he intends to inspire a new artistic experience of the audience through

(agematsu, 1974:136).” his world of mind could not expressed only by the words. he went into the

goetheanum as follows: “to feel together and to sympathize the figure, the curvature, the extension,

world of deep silence over and over through his life.

the rhythm, and the move.” (niederhauser, 1983, p. 18)

the goetheanum was supposed to be built in munich at first. in munich, the theosophists, the former

“architectural forms do not want to be regarded only from external. the viewers shall experience the

anthroposophists, performed the mystery plays written by steiner every augus from 1910 to 1913

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(hartmann, 1971:6). the members at the time thought of constructing a place for the festivals for

while less than 10 percent of the families in the richest cities could reach their annual income of

themselves to perform, and decided the site to be schwabing, a borough in the northern part of

3000 reichsmark. eventually the students were limited to the sons of university professors, high

munich. steiner was in charge of designing. he named the architecture the johannesbau (the building

class military men, [...] and private bankers. (mishima, 2010:66-67)“

of johannes), after the lead character of his mystery plays. we append that the name of steiner’s father is johann or johannes steiner and goethe’s name is johann wolfgang goethe in full.

2.10

rhizome.

the johannesbau was intended to be buried in the middle of a city block in munich, but failed to get planning permission. even after the refusal, the programme kept moving forward. sometime during that time, a swiss member of anthroposophical society offered a plateau in dornach for the architecture. at that time, the johannesbau project transformed into the goetheanum project in

deleuze, g. guattari, f. 1980. mille plateaux capitalisme et schizophrénie, paris, les editions de minuit.

dornach.

rhizome is the first chapter of the book mille plateaux by two post modernistic philosophers, deleuze

as we can seen in the block plan, the johannesbau was intended to be surrounded by the buildings

& guattari. in the book they use the word for an analogy or a philosophical term for a model which

around, and thus could not be looked from passengers.

has no centre nor a start nor an end. they insist that the conventional european metaphysical

2.7.5

the first goetheanum.

2.7.6

the second goetheanum.

philosophy has been adopted a model of a tree, which has an absolute root and then spread from there. rhizome has been the typical thoughts of the authors. rhizome: a book is an arrangement, or an assemblage. machinery arrangements

“the goetheanum, center for an active, world-wide network of spiritually committed people, is

1st type of book: root-book

situated in dornach, 10 km to the south of basel in the jura mountains. it is the home of the school of

a first type of book is the root-book, which is the classical book. a tree stands as an image of the

spiritual science and the anthroposophical society. 800 events, including lectures, special subject

world. or, a root is an image of the tree as an image of the world. a book copies

colloquia, exhibitions, theatre and eurythmy performances and major international conferences, draw

2nd type of book: the radicle-system, or fascicular root

more than 150,000 people a year to the goetheanum. “ (goetheanum, 2010) fig. 21 west wing stair case in the goetheanum, showing blue stained glass”speaking”. (agematsu, 1998)

fig. 22 the map of the goetheanum from an info flyer available in http://www.goetheanum.org/

when we visit or see the photos of the goetheanum architecture we would be mystified by its figure

the body without organs (bwo, or corps sans organes, cso) of a book possesses the nature of the line, the substance of the line, and the specific density.

and form, and start to seek for the answer why it is as it is. fig. 25 form drawing of descending dynamism. (kranich et al., 1994)

soon after the catastrophe of the first goetheanum, steiner started designing a new version of

1 principle of connection

goetheanum. as we noted already, the first goetheanum would have been built in concrete if steiner

“any point of a rhizome can be connected to anything other, and must be. this is very different from

had not listened to people’s wishes. the second time, however, “he decided he needed to take

the tree or root, which plots a point, fixes an order.”

complete control.” this is “perhaps because he felt there was too much at stake.”

2 principle of heterogeneity 3 principle of multiplicity

right and left sides are both corresponding in conventional architectural styles. architectural

‘it is only when the multiple is effectively treated as a substantive, “multiplicity,” that it ceases to have

symmetry is purely and mathematically related to a certain straight line.

any relation to the one as subject or object, natural or spiritual reality, image and world. multiplicities

fig. 23 perspective view from the terrace.

fig. 24 night view from the west, (agematsu, 1998)

fig. 42 shows the red stained glass that cannot be seen from outside as shown in fig. 41 is visible in the night.

are rhizomatic, and expose arborescent pseudo-multiplicities for what they are. there is no unity to serve as a pivot in the object, or to divide in the subject.’ only when the multiple is dealt as a manifold, they are no longer related to the one as the image and the world. that means the legion do have relationships with the one if they are not a manifold. there is no uniformity such as the one works as an axis at nonego or the one that gets divided at ego.

2.8

design theory.

manifold lacks nonego and ego. various orders. 4 nonsemantic cutoff principle

tanaka, yoh. design theory. tokyo, iwanami shobo, 2000.6.8, 149p.

nonsemantic cutoff is a principle of rhizome that fights against cutoffs that have too much meaning

“[...] design is inseparably-linked to industry, and thus plays a role of expressing the policy of the

which divide each structures or cut across a structure. rhizome does not mind even if it gets cut or

company. we define the identity of company as corporate identity (ci). consumers always objectively

bent in any part of the body. the lines and the parts of the rhizome enable them to come back to life.

read the company’s attitudes towards products, production [process], and marketing. and so,

the same thing applies to animal rhizome such as a colony of ants, which has limitless potential to

companies have started seeking the way to identify their form as their reflection.”

overcome any damage and reshape the whole.

in japan, ci started rather as visual identity (vi), the design of the façade so to speak. then they

5 method of preparing map principle

moved to the primary object of ci: constitutional improvement and awareness-raising. (p. 115)”

6 transcription principle

ci consists of roughly three parts.

p. 40 a thought is not a tree. a brain is not a material that is rooted or is branched.

a. mi+bi+vi

p. 53

b. formulation of better-looking corporate image to strengthen international operation.

“plateaus are always in the middle,” not at the beginning nor the end. rhizome consists of all kinds

c. formulation of communication image between the third party.

of plateaus. p. 59

mi=mind identity is to design the principles of management, and thus close to business

“make rhizomes, not roots, never plant! don’t sow, grow offshoots! don’t be one or multiple, be

administration. bi=behaviour identity is to design the behavior as management. vi=visual identity

multiplicities! run lines, never plot a point! speed turns the opine into a line! be quick, even when

formulates coherent appearance and so on. so, vi is just a part of the vast system of ci.

standing still! line of chance, line of hips, line of flight. don’t bring out the general in you! don’t have

product identity: the most important thing in ci is to have concrete corporate principles and policy.

just ideas, just have an idea (godard). have short-term ideas. make maps, not photos or drawings.

in addition to that, formulating the principles and practical codes of conduct to comply are the

be the pink panther and your loves will be like the wasp and the orchid, the cat and the baboon...”

pragmatic side of ci. the problem is that without the most important part ci would not work as they expect. adopting only vi for styling appears to be efficient, but without solid ci it would result in

pp. 60-61

façade design. ci is for designing principles, and then the methods that have compliance to those

“a rhizome has no beginning or end; it is always in the middle, between things, interbeing,

principles. but how? some corporations can identify their brands being old. tradition can be the soil

intermezzo. the tree is filiation, but the rhizome is alliance, uniquely alliance. the tree imposes the

for the principles and designs. some can bring charisma as an icon of the company. without those

verb “to be” but the fabric of the rhizome is the conjunction, “and ... and ... and...”this conjunction

kind of resources, however, it seem to be fairly difficult to form a solid ci.

carries enough force to shake and uproot the verb “to be.” where are you going? where are you coming from? what are you heading for? these are totally useless questions. making a clean slate,

2.9

benjamin: destruction, anthology, and recollection.

this book covers a jewish-german intellectual walter benjamin (1892-1940). in the section “german youth movement” mishima identifies the background of benjamin. benjamin changed his school when he was 13. “what made benjamin feel obstructive character of liberalism and progressivism [...] was two years in a local boarding school. the school copied the new school movement in england, one of the movements of free education all over europe. those were the brave experiments trying to overcome the education based on a full commitment to filtering by the nation, namely by ellen key [1849-1926], [maria] montessori [1870-1952], and [rudolf] steiner who founded anthroposophy in 1902. [...] in those experimental schools they preach a demining of separation of academic work and actual life

starting or beginning again from ground zero, seeking a beginning or a foundation-all imply a false conception of voyage and movement (a conception that is methodical, pedagogical, initiatory, symbolic ... ). but kleist, lenz, and büchner have another way of traveling and moving: proceeding from the middle, through the middle, coming and going rather than starting and finishing. american literature, and already english literature, manifest this rhizomatic direction to an even greater extent; they know how to move between things, establish a logic of the and, overthrow ontology, do away with foundations, nullify endings and beginnings. they know how to practice pragmatics. the middle is by no means an average; on the contrary, it is where things pick up speed. between things does not designate a localizable relation going from one thing to the other and back again, but a perpendicular direction, a transversal movement that sweeps one and the other away, a stream without beginning or end that undermines its banks and picks up speed in the middle.”

and thus put emphasis on classes related to life as manual training, music, and outdoor activities. on the other hand, they also preached ‘academic-theoretical’ education to let them think truly critical without learning everything just by heart. [...] it sounds as if only being good things, but as is customary with these kind of things, it also sounds dubious in a way. benjamin condemned steiner’s philosophy in his marijuana experience: ‘i’m sick and tired of the lie.’ the bond between education and wealth is inextricable without changing the society regardless how soaring the ideal of those reformation education systems are. despite they insist the resistance against national governance of education, school fees cost 2000 reichsmark 147

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chapter 3

analysis of principles and design methods design methods

ii. christian architecture according to steiner, christian architectural style intends to dissociate the churches with the land. the dissociation of the feeling of serving for the spirit, god, from day-to-dayness. because christian architecture is no longer practically united with landscape, the architecture expresses that if a person needs to uprise to the spirit he must a.) go out from the day-to-dayness, b.) must stay in the place insulated, c.) and must unite with the spirit. thus, christian architecture cannot be just as greek and roman architecture used to be. christian architecture divided itself into two: a.) the architecture of parish, and b.) the altar and the architecture that is insulated for the sake of the priests.

general principles

design principles

here the greek architectural configuration of pure statics and dynamics relationships metamorphoses into the form appropriate to the principle of dissociation as if it were an axiomatic process (steiner, 1957:124).

iii. gothic architecture: just as an extension anthroposophy

gothic dome produces the embodiment for the mystics in the later phase of the middle age. “gothic architecture is, essentially, only a further development of what had been prepared earlier.

fig. 26 diagrammatic understanding by the author.

its main feature is that the bearing of weight is transferred from walls to pillars. what is the origin of this whole mode of construction, where weight rests on the pillars, which are so formed that they

3.1

root: 4 general principles.

are able to bear it? the system of construction of the greek temple is based on quite a different conception. it is as though the human being had got to know the force of gravity inside the earth;

here we discover the principles of steiner. we divide it into two pieces. one is general principles and

and then, finding himself placed on the surface of the earth, he makes use of gravity, and by doing

the other one is architectural principles. in this section we discover general principles which are

so overcomes it. that is the greek temple, which is the dwelling place for the god. [...] gothic

abstract, conceptual, and anthroposophical. the edifice of anthroposophy is so vast that we focus

architecture requires individual craftsmanship. the wish to create an enclosed world for need to

on those of related to architecture explicitly, but not directly to architectural design.

create something wherein the activity of the congregation plays a part. what the people in the

we pick up the following:

congregation have learnt is embodied in the forms they create. the art of the craftsment flows into

1. a new architectural style: the house of speech.

the gothic forms, and in studying these forms we see the work of human beings who have all worked

2. chromatics.

together contributing their share in the town community. “(beard, 2003:47-49)

3. christianity.

steiner points out the archetype of what we call it “preparatory design” today in gothic architecture.

4. metamorphosis.

until gothic era, there had been no such contribution of craftsmen who had a creative freedom, beard says (beard, 2003:257). and thus steiner said gothic temples are crystalized handcraft.

steiner was an occult thinker. how did he move ahead to architecture? to answer the question, we

“in gothic churches we have a building built by the congregation to enclose the god and to which

first need to know his way of constructing the thoughts.

the craftsmen have added their contribution. [...] in gothic architecture the labour of human beings

“once he had done renovation of consciousness, he could unfurl the branches and leaves [of the

unites with the divine.“ (beard, 2003: 49)

thoughts] toward all the perimeter from the original point [of the consciousness] with complete

exactly the same thing happened in the two goetheanums as we see in a later section. in

uniformity. (agematsu, 1974:40)”

goetheanum, they had a building built by steiner and his colleagues to enclose anthroposophy and

steiner did not consider architecture as it is today being dissociated from every kinds of arts

to which the craftsmen have added their contribution. in goetheanum the labour of human beings

although we know that rudolf steiner intends to design organically, the opportunity to get to

units with the spiritual philosophy.

understand his vast principles of architectural design is fairly limited. 3.1.1

a new architectural style. (1914.6.17,1914.6.28)

steiner intends to develop a new architectural style in the context of greek, christian, and gothic architectural styles (and so on, but here we do not cover because those three explain the concept well enough). to understand the principle, we first clarify the design strategy of each styles through his perspective. the following introduction is based on the second and the third lecture of architecture by steiner: the house of speech in 1914.6.17, and a new style of architecture in 1914.6.28. the principles a new architectural style and the house of speech are different two principles, but can be merged into one. it is because the ultimate object of his new architectural style is to make architecture to speak to human being.

i. greek architecture: closed weight and support system. according to steiner, greek architectural style intends to combine architecture with landscape. therefore the landscape grows along the architecture. the temples become the houses of gods and goddesses. they adopted the overall relationships between space and gravity as the base strategy

fig. 28 boy’s backbone as a reaction to force of gravity ＆ force of selfhood. (kranich et al., 1994)

iv. a new architectural style

of the design (steiner, 1957:123). he then proposes another, new architectural style. 1.

proximity to spiritual things: conflation with the spirit.

inner communion of form and spiritual things.

embracement by emotion and all our heart, not through abstract thoughts.

form that tells just as words.

understanding the spirit through the form and figure.

form as an organ that speaks from the spiritual world.

form not as an imitation of nature.

steiner then presents a diagrammatic expression. following statement is made in the third lecture (1914.6.28.) “can forms speak out of the spiritual world? they can indeed, and they can express many things. take a concept that is especially close to us, being on the one hand the expression of the highest, while on the other hand, in its luciferic aspect, it is submerged in the lowest. take the concept of the ego, the concept of the self. we do not as yet attach anything particularly significant to the expression ‘i’ or ‘self’. many epochs will have to run their course in human history before a fully conscious mental image can arise in the soul when the word ‘i’ or ‘self’ is uttered. but there is a form we can make through which egohood or selfhood can be sensed. when we pass from having a purely mathematical conception of a form to really feeling what a form is, a perfect circle will give us a sense of egohood, of selfhood. to feel a circle means to feel selfhood. to feel a circle in a plane, or a sphere in space, is to feel the self, the fig. 27 diagram of greek temple walls. (steiner, 1957:90)

“when something goes beyond horizontal things, the force itself closes this. as we build two beams

ego. once you have grasped this you will readily follow the rest. when a human being who is truly

like this when we build an architecture, the forces supports each other. what is the emotional

alive to what he feels is confronted with a circle and in consequence feels a sense of ego, of self,

condition for the system? it is that there is the earth below this with gravity. (steiner, 1957:89)”

arising in his soul, when even a part of the circle or a fragment of a sphere rouses in him a sense of

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independence in his own self, then he is learning to live in forms. those whose feelings are truly alive are good at living in forms. if you bear this in mind you will find it easy to understand what follows from it. (beard, 2003:58)” to live in forms. that is fundamentally a diagrammatic perspective of the world. “the first circle i have drawn here has an unbroken line.

fig. 33 another type of god’s calyx in the first goetheanum’s stained glass (hartmann, 1996)

fig. 29 unbroken line. (agematsu, 1974)

this line however can be varied so that it shows these wavy projections.

fig. 34 a sign steiner used for a mystic drama (hartmann, 1996)

this dynamics also is available in form drawing. kranich et al. say that children around eight and nine become more and more aware of their own drawing. and so they start drawing freely inside circles.

fig. 30 wavy projections.(agematsu, 1974)

another characteristic variation is the third figure.

fig. 35 forms for circles from straight lines to curved movements of drawing(kranich et al., 1994:159)

the first circle children start with vertical symmetry and then proceed to horizontal symmetry with curves that have dynamics of springing out.

fig. 31 jagged circle. (agematsu, 1974)

both figures are only variations of the circle. what do these variations signify? the second (2) expresses the fact that the self, the ego has entered into relation with the outer world. the simple circle makes us feel that nothing of the rest of the world is there, only what is shut off within the circle. if we observe the circle in variation we can no longer feel that what is expressed by the circle is alone in the world. the variation in the line expresses a struggle, a kind of interplay with the outer world. if we really live into the form of the second variation (2) we shall feel: ‘the inner is stronger than the outer.’ and in the case of the jagged circle (3): ‘the outer has bored its way in and is stronger than that which lies within the circle.’ and now if we go into any building containing fragments of circles or rounded surfaces, and perceive

chromatics steiner insists that the experienced colour is not the observed colour. take excited children. it is fig. 36 forms of exhalation and inspiration (kranich et al., 1994:160)

not blue itself that calms down the children. on the contrary, it is red that evokes the experience of opposite colour, blue in tyhis case, inside. fig. 37 “formation of colour” drawn in 1923.6.9 (steiner, 1982:90)

“there are luminous material elements in the universe. they are the group of yellow. when the space in front of the yellow is dark, the yellow changes to the red. in the meantime, there are the material elements that travel the wave motion other than luminous elements. those elements emit the group of blue.”

variations of this kind, we shall feel in the case of the jagged lines, ‘here the outer has conquered,’ and in the case of the wavy lines, ‘here the inner has conquered!’ fig. 38 ”the essence of colour” drawn in 1921.5.6 (steiner, 1982:89)

our souls begin to live with the forms. we do not merely behold the forms but in our souls we have

”colour is not real. colour is an image. there we see the image of the dead, the image of the living,

the living, pulsating feeling of ‘conquest and encroachment,’ ‘victory and mastery.’ the very soul lives

the image of the soul, and the image of the spirit.”

with the form. and this union with form, this living in form is the very essence of true artistic feeling.

3.1.2

christianity

but we can go further. let us picture to ourselves a less simple variation (4).” steiner’s christianity is somewhat different from ordinary orthodox one. steiner’s christianity seems to have its base in jesus christ himself, not in the system of the religion which has been deformed and evolved. the conflict of materialism and mentalism is an essential part to understand his christianity. steiner represented the conflict as explicitly as it could be. gruppe (the wooden sculpture, 1917-1924)

fig. 39 gruppe (agematsu, 1998

fig. 40 steiner on work: with his statue of christ (agematsu, 1985).

fig. 32 movement.(agematsu, 1974)

here the form is moving in a particular direction and becomes action. when we live in this form we have the feeling that it moves and is advancing. the form itself is characteristic of movement.” “from this you will realise that the basic character of the forms here is quite different from the forms of the three stages of architectural thought which i have described. up to our time architectural thought has been concerned with the qualities of lifeless, mechanical rest. now, however architectural thought becomes the thought of speech, of inner movement, of that which draws us along with it. this is what is new in the whole conception, and the basic form must of course correspond to it. in what way does the basic form correspond to it? now i have said that the most intimate of all impressions is that of the self, the ego, as expressed in the circle or sphere. why is this? it is because the simple circle or sphere is of all forms the most easily perceptible. it is an absolutely simple matter to recognise a circle. all that is necessary is the most trivial thought that everything is equidistant from the central point. as soon as we picture to ourselves points standing at an equal distance from this centre, we have the sphere, or circle. it is the very easiest process that can be carried out in thought. as form, then, the circle is the simplest of all entities. this is also in accordance with external reality, for the selfhood in every being, from the simplest cell to the complex human being, is the simplest of all impressions, just like the circle or sphere. behind all this there is something much deeper and i want you now to follow me in a thought that will lead those who really understand it, to great profundities. (beard, 2003)”

“the sculpture named ‘gruppe (group)’ was intended to be the finishing touch for the first goetheanum at its deepest place of the stage. as the centre of the first goetheanum, the wooden sculpture has the top priority to understand not only his architecture but also his architectural principles, his figurative arts, and his perspective of the world as a social thinker. while steiner sought sculpturesque and organic architecture, he sought an architectural sculpture here agematsu, 1974:150).” even though it required eight years of production to gain the form as it is today, the production has never been finished: in the fall of 1924 steiner got too sick to keep woodcarving the nine-meter-high sculpture. since then, it has been put inside the second goetheanum as the heart of the architecture. the motif located in the centre of the sculpture is a representative of human being: christ. steiner did not fix the motif to be only one. it could be a representative of human being, or jesus christ, or faust by goethe, or anything else “the viewers understand it as the representative of human being (agemtatsu, 1974:252). “ the interpretations may vary: they are left to the viewers. see reference chapter 2: rhizome. there deleuze and guattari propose the system of multiplicity which has no centre of perspective. ahriman is the representative of mentalism. located below and left of the centre motif ivied, steiner defines ahriman in his own way. originally the god of absolute evil in zoroastrianism, steiner’s ahriman can be considered as an image of mephistopheles by goethe. in the sculpture ahriman is covered with pointed parts. hard, edgy, solid are the terms for ahriman while soft, curved, yielding are the 149

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terms for lucifer.

fig. 47 metamorphosis of foot. (kranich, 1994)

3.2

3.2.1

trunk: design principles in 3 stages

first stage (around 1907-1914)

fig. 41 diagram for load (weight) and support principle (beard, 2003:24).

in this phase, his principles and ideas were on the johannesbau. in “und der bau wird mensch (1911),” or and the architecture becomes man, he starts with his perspective of architecture history. fig. 42 temple of aphaia, aegina (beard, 2003:25)

in the great stream of architecture starting from egyptian architecture to greek, christian, and gothic architecture, he tries to locate the forthcoming contemporary architecture. here we quote a brief sample of his perspective.

ahriman and lucifer in education.“

“the idea of the temple as an expression of all that is most precious to man, is embodied in the when a teacher is egoistic and tries to grow the students up to be as himself, education gets luciferic. when we

christian temple or church. such buildings, erected originally over a grave, indeed over the grave

want the student to have the same point of view and perception, education gets luciferic. when we are pleas-

of the redeemer, culminate in the spire which tapers upwards to the heights. here we have before

ured that the students mimicry tomorrow what we said today, education gets luciferic. on the other hand, when

us the expression of an altogether new impulse, whereby christian architecture is distinguished

we try to educate as less as possible and try not to let them receive anything from us, education gets ahrimanic.

from that of greece. the greek temple is, in itself, one complete, dynamic whole. the church of

there is the balance between the two extremes, just like there is the balance between weight and

christendom is quite different. i once said that by its very nature, a temple dedicated to pallas

support. the balance, [...] occurs through musical and sculpturesque things. we must distinguish

athene, to apollo or to zeus needs no human being near it or inside it; it stands there in its own self-

teacher’s contemplation and the future of students themselves. when we are able to harmonize one

contained, solitary majesty as the dwelling-place of the god. the greek temple is an infinitude in itself

with the other, we must be pleasured so well. [...] and so, we can think that “students won’t be as i

in that it is the dwelling-place of the god. and it is really the case that the farther away human beings

want them to be. however, they can be someone. they won’t be what we have brought. they will be

are from the temple itself, the truer is the effect it makes upon us. paradoxical as it may seem, this is

someone.(steiner, 2005:58).”

the conception underlying the greek temple. the church of christendom is quite different. the call of a christian church goes out to the hearts and minds of the faithful; and every one of the forms in the space we enter tells us that it is there to receive the community, the thoughts and aspirations of the congregation. (steiner, 1951)”

fig. 43 detail of lucifer below christ. (agematsu, 1985)

“we needed to form only the thought of internal architectural in the architecture in munich. it is because the architecture was surrounded by the residential buildings which can be occupied by the colleagues. therefore, we considered the whole building as internal architecture. such internal architecture must express the things occur inside artistically. “

the jelly-mould principle (1914) the relationships between ahriman and lucifer is not the relationships between nature and human as

inner ornamentation has to be a pan, a mold, or a formwork of inner activity: anthroposophy in this case.this prin-

shown above: analogy of ahriman intersects the fields.

ciple is comparable to the concept of “the house of speech,” but more limited, concrete, practical adoption of the

fig. 44 analogy of ahriman (hartmann, 1971).

fig. 45 ahriman in the stained glass in the first goetheanum. (hartmann, 1971)

3.1.3

concept. although he does not use the word jelly-mould to represent the principle every time he explains the interior ornamentation, we standardize the principle as jell-mould principle in this thesis as a matter of convenience.

metamorphosis

we have covered an article on metamorphosis in 2.3. metamorphosis came out from goethe’s metamorphosis of plants, and then steiner evolved the ideas into more abstract ideas even further into the metamorphosis of diagram: lemniscate. lemniscate changes its form with its variable and thus became the representative example for steiner. see also 2.

“in trying to understand the principle of the interior space formed by our two half domes, or, more correctly, three-quarter domes, we could do worse than imagine how a jelly0mould works. the jelly takes shape inside the mould and when the mould is upturned and removed, the jelly reveals all the forms that are present in negative inside the mould:

fig. 48 diagram for the jelly-mouldprinciple fig. 49 fig. 50 fig. 51

“the same principle may be applied in the case of the interior design of our building, only here there is no jelly inside but the living word of spiritual science moving and weaving in the form possible for it. all that is enclosed within the spatial shapes, all that is spoken here and done within them, must adapt to them as the jelly adapts to the negative forms of the jelly-mould. we should feel the walls as the living negative of the words that are spoken and the deeds that are done in the building. fig. 46 metamorphosis of lemniscate into other forms in form drawing (kranich, 1994)

that is the principle of the interior design here. think of the living words of spiritual science as they encounter these walls, hollowing them out in accordance with their profundity of meaning. they hollow out shapes that fit their meaning. this is why these interior forms are shaped as they are, worked out of the flat surface.” (beard, 2003:130-131) “if you will consider all these things; my dear friends, you will realise how important it is to understand the forms in the interior of our building, the forms that should adorn it, and to know the artistic principle from which they have arisen. [...] when we are trying to understand what will be placed in the interior of the building in these two different sized spaces, we may with advantage think of the principle of the mould in which sponge cakes are baked. the cake rises in the mould and when it is taken out its surface shows all the forms which appear on the sides of the mould in negative. the same principle may be applied in the case of the interior decoration of our building, only that of course there is no cake inside; what must live there is the speech of spiritual science, in its true form. all that is to be enclosed within the forms, all that is to be spoken and proclaimed, must be in correspondence, as the dough of the cake corresponds to the negative forms of the baking mould. we should feel the walls as the living negative of the words that are spoken and the deeds that are done in the building. that is the principle of the interior decoration. think for a moment of a word, in all its primordial import, proceeding from our living spiritual science and beating against these walls. it seems to hollow out the form which really corresponds to it. therefore i at least was satisfied from the very outset that we should work in the following way: with chisel and mallet we have a surface in mind from the beginning, for with the left hand we drive the driving chisel in the

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direction which will eventually be that of the surface. from the very outset we drive in this direction.

are bound together in a circular segment by means of a somewhat difficult mechanical contrivance.

on the other hand we hold the graver’s chisel at right angles to the surface.”(steiner, 1957)

(beard, 2003:151-152)“

fig. 52 detail of the chiselled architrave (agematsu, 1998).

steiner then mentions the process of construction, or the process of engraving.

3.2.2

second stage (around 1914-1925)

“it would have been my wish - only it was not to be - that we should have had no such surfaces as

according to agematsu (1974:28), the year 1913 seems to be one divide for the revolutionist of

these (pointing to an architrave). they will only be right when something is taken away from them.

entity and cognition. in 1913 he moved to a hill of dornach near basel, switzerland. from that time his

this roundness here must be eliminated. it would have been better if from the very beginning we had

ideas started to overflow.

worked with the graver’s chisel for then there would have been no protuberance but only a surface. what we must do is to feel from the models how the interior decoration is the plastic vesture for

principle of organic form and organic architecture (1921)

the spiritual science that is given its in the building. just as the interior decoration has the quality of

we consider rudolf steiner as one of the “organic“ architects. not knowing what “organic” truly

being ‘in-carved,’ so the outer decoration will seem as though it is ‘laid on.’ the interior decoration

means, or not knowing what s/he really intends to design, we tend to categorise the architectures

must always have the character of being in-carved. “ (steiner, 1957)

with curved surface as “organic architecture” in some vague way. fig. 55 “form of organic architecture” drawn in 1921.12.28 (steiner et al., 1996:92)

fig. 53 architrave of the first goetheanum (agematsu, 1998).

“anthroposophy is to activate the intellection world of today’s human being who have been trying

steiner then mentions the process of practical design, which is fairly rare to him. although we can

to adapt to the fixed form of nature. and thus in architectural field we have been striving to activate

see how steiner put emphasis on models in the design process, steiner does not mention that a lot.

mechanical=geometrical architectural style. therefore, as you enter the goetheanum, you will

“it is important to feel from the model that how inner ornamentation works as a sculpturally created

understand how bilaterally symmetric geometric form are guided toward organic form, and how we

cover towards inside covering thing that fills us up as the spiritual science inside this space. “ (steiner,

have tried to make you encounter the organic forms or the forms that evoke organic forms here and

1957:63)

there.“

“it is this that leaves one unsatisfied even in such writings as those of a man like hildebrandt. he has a certain idea of the workings of form but what he lacks is the inner feeling of form ? the inner

metamorphosis with the second goetheanum

feeling that makes one live wholly within the form. he simply says that the eye should feel at home

steiner concentrated on its exterior form with the second goetheanum. as beard (2003:185) explains, “the entire

when it looks at form. in our building we must learn to experience the forms inwardly, so that, holding

building was turned inside out so that the seven columns which appeared inside on each side of the larger dome

the chisel in a particular way, we learn to love the surface we are creating ? the surface that is

in the first building were transformed into vertical elements on the north and south facades of the second build-

coming into being under the mallet. i, for my part, must admit that i always feel as if i could in some

ing.” here we see the consecutive metamorphosis even through the buildings in the same place, and in almost

way caress such a surface. we must grow to love it, so that we live in it with inner feeling and not

the same usage. another metamorphosis takes place in the primary cubic form. the stage in cube on the east side

think of it as something that is merely there for the eye to look at.” (steiner, 1957)

develops into trapezoid form of the main auditorium on the west side.

while steiner’s principles can be applied to anything he creates, his architectural design method cannot be applied to anything he builds. as we have seen, the difference of material creates the difference of design method, best of all in the two versions of goetheanum. you just cannot use chisels on concrete. as beard (2003:184) explains, “the central importance steiner attached to art and architecture” was

why, then, steiner transformed the forms from the first one so radically? besides all other reasons such as material adoption and fire resistance and so on, conceptual change of the building explains the drastic metamorphosis. through the time he designed, he and his anthroposophy organisation also had radical change.

“in enabling humanity to experience spiritual phenomena through the senses in a more direct and immediate way than is possible through thinking or meditation.”

3.2.3

third stage (1923.12.31-1925.3.30)

christmas foundation meeting (1923.12-1924.1) “a complete transformation” is that steiner refounded the general anthroposophical society at christmas 1923. the day is when steiner presented his model of the second proposal. the meeting is so important to both the society and to the building that is called “christmas foundation meeting (beard, 2003:262).” beard calls this social metamorphosis. a quote of his own perspective would help to understand this change. “if the first building enclosed an interior where the ‘gods spoke’ to the human being in a protected inner space, the space addressed by the second building is, in effect, the entire earth. this expresses, i think, a supremely christian thought on steiner’s part - the fig. 54 form drawing representing the conflicting forces from inner & outer side(kranich et al., 1994)

interrelationships between the principles

realization that, since the mystery of golgotha, as he called it, the earth itself has become a temple. (beard, 2003:187)” in the meeting, they discussed the reconstruction of both anthroposophical society and the

in an article in die national-zeitung newspaper in 1st november 1924, steiner writes as follows.

goetheanum.

“because of the softness of wood it was possible to shape space in conformity with the way nature

and in the last day of the meeting, steiner drew a paramount blackboard drawing. the updated

shapes organic forms. an organism as a whole creates for even its smallest parts - an ear lobe, for

version of principle of weight and support was revealed with specific suggestion of architectural

example - a shape that cannot be other than it is. by entering artistically into the way nature creates

form.

organic forms and raising this through creative imagination to a spiritual level it was possible to create an ‘organic style of architecture’ as opposed to one based merely on static or dynamic forces.

weight and support (1923-1924)

(beard, 2003:187-188)” even in this short paragraph, we can extract the most basic significant principles of steiner architecture. first is his materiality especially for wood. second is his perspective

“what i have been aspiring is to visualize the force of weight through the vestibule and the window

of natural organism. third is his theory of evolution. fourth is his organic style of architecture. fifth

frame. and i would like to make it possible to comprehend also in spiritual way that the vestibule lets

is the new way of architecture he proposes in the context of evolution of architectural style since

human inside, and the window lets the light inside. at the same time, what i have been aspiring is to

roman period. because those principles are so strongly related to each other as you can see in the

make it clear through the form that the goetheanum is a kind of a peaceful sanctuary for the people

quote, those must be explained simultaneously to understand.

who seek for the spiritual entity.”

fig. 56 “architectural principle of goetheanum,” drawn in 1924.1.1 (steiner et al., 1996:93)

second phase in 1921, steiner published a book “der baugedanke des goetheanum,” or “the architectural principles of the goetheanum.” in the book, he writes the significant principleswhich are the base of the design method in dornach. “the weltanschauung [the view of the world] of anthroposophy also passes the lips of form of architecture. things resonate in dornach as words must be visible as form.”

3.3

in this section we start with the design strategy in the johannesbau and the first goetheanum in dornach. 3.3.1

in the hague in february 1921: “in dornach, then, a kind of architecture has been cultivated that has the same meaning and the same spirit as anthroposophical spiritual science itself. the sculpture within the building will express the same spirit, as will the painting there. whoever stands at the rostrum and there another way what speaks to us from the columns, from the paintings on the walls, and from the sculpted forms. it is all - if i may use a somewhat trivial expression - from one mould! “people are so very fearful that nothing really artistic can be produced in this way, but only something symbolic or allegoric. but ladies and gentlemen, in dornach there is not a single symbol, not a single allegory, but rather we have attempted to give everything truly artistic form. nor will the ideas that are expressed be in any way embodied in pictures. that would be inartistic. the common spiritual life that underlies it all can at one moment be given shape in art, at another in ideas - that is to say in thoughts, using a scientific approach. nor again is the art in dornach a didactic expression, as it were, of science. rather it may be said to be one mode of representation, and science another, of the same great spiritual mystery from which, in anthroposophical spiritual science, everything is drawn which the latter strives to give to humanity. “the whole outer form of the dornach building had to be in keeping with these ideas. anyone looking at this dornach building will see a double domed structure. side by side stand two cylinder-like

branches and leaves: design methods.

the fundamental strategy.

there are two fundamentally different ways to create architecture. 1.

to start from inside.

to start from outside.

the activity inside the building decides the form of the building. it is often called programmatic strategy in contemporary architectural design method. on the contrary, one can also think from outside. outside in this case does not mean “facade,” “outward” styles. those kind of strategy is infamously known as “styling” in architectural design and in industrial design. outside here means the context of the site. to design from outside is to think about how to attune and reconcile the building with the surrounding landscape. it is often called contextualism strategy in contemporary architectural design method. sanaa winning the pritzker architecture prize, juried by their mastership for programmatic strategy and contextual is still fresh in our minds. in munich, steiner clearly started with the interior. we can see it in the preliminary phase of design. the “leitmotiv,” leading motif of the building contains two cylinders in different size with the domes on each and with the columns supporting the both domes.

structures which, however, intersect each other; and above these, two hemispherical domes which

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parts where it is thinner. more light will shine in through the thinner parts and less through the thicker ones, which will thus yield darker shades. the interplay between spirit and matter will be sensed in what the windows express; and the whole of the interior surface will strive to be organ for the speech of the gods. the larynx[the organ between mouth and throat] makes it possible.” 3.3.3

materiality: wood or concrete?

the first goetheanum building was destroyed by arson in new year’s eve, 1922. according to beard (2003:185), “there is some evidence that the first building would have been built in concrete if steiner’s collaborators had not wanted to use wood.” the fact that the first goetheanum was surrounded by the architectures built in concrete also tells that the first goetheanum could have been built in concrete. it is because steiner normally defers to the collaborator’s wishes when it came to putting anthroposophy into practice. material adoption. “when one approaches the building from the west and comes to the main entrance facing west, one is met by the following view. the foundation of the building is concrete. above this is a terrace fig. 57 conceptual diagram for the johannesbau and the goetheanum .(hartmann, 1971)

this fundamental structure of the building programme sustained as basso continuo even through the second goetheanum. how steiner emphasises the interior above all can be explained by the response of the inquiry as to the exterior of the building. he answered that if he could, he would have liked to cover the entire building with soil and let the grasses grow.

surrounding the greater part of the building. upon this concrete foundational structure stands a structure of wood. (beard, 2003:152-153)” the roof slate. “the domes are covered with that wonderful northern slate, gleaming in the sunlight, which is to be found in the slate quarries you can see when travelling between christiania [now oslo] and bergen. it came from the voss slate quarries. this slate blends in a marvellous fashion with the building’s architectural conception. (beard, 2003:153)” “concrete and wood are both employed to give rise to an architectural style that may perhaps be described as the transition from previous geometrical, symmetrical, mechanical, static-dynamic architectural styles into an organic style. not that some sort of organic form has been imitated in the dornach building. that is not the case. rather it has been my aim, in accordance with goethe’s theory

fig. 58 diagram of the goetheanum covered by soil. (hartmann, 1971)

had it achieved, the goetheanum would have consisted only of interior.

of metamorphosis, to steep myself in nature’” fig. 61 the first goetheanum in perspective view (agematsu, 1974).

even though the ultimate essence of steiner architecture is in the conflict and the harmony of interior and exterior, steiner architecture only concerned to the internal architecture in the starting phase (agematsu, 1974:141). inner life as anthroposophy was always on top of anything else. architecture was a kind of cuticle. architecture was a kind of surface skin. while sponge cakes principle is related to steiner’s inner space theory, it also expands to the interior ornamentation principle.

3.3.4

the design strategy in the second goetheanum.

here we discuss the design strategy adopted in the second goetheanum. after ten years of thinking, the design of the goetheanum has changed drastically. for steiner, going back five years meant going back one century.

fig. 59 steiner next to his model for the first goetheanum. (steiner et al., 1996)

steiner addressed the ornamentation principle clearly. “the words being spoken there and the

“time is reality. [...] if we declared the same thing in the same way we have already done in 1919

activities being taken place there must be felt from the things attached on the walls this is the

once more, we would have fallen back for a century. [...] likewise it is impossible to architect the

principle of the interior ornamentation.”

same way today in 1924 as we have in 1913 to 1914.(agematsu, 1974:294)”

steiner also insists that interior ornamentation always must have the characteristic of being engraved, while exterior ornamentation must have the characteristic of being bulging out. (steiner,

major renovation in 1997.

1957) any ornamentation are considered as a part of living wall. ornamentation is not a thesis that it

in 1997, anthroposophy organisation decided to renovate the second goetheanum for being creaky.

is a format of outer technique.

they had three main purposes for the renovation. first was to replace asbestos-treated roof. second was to have better acoustic performance. last was to reinforce the structure with adding 5 more

cutting and pasting the first goetheanum.

columns inside the existing thick wall.

the relocation from munich to dornach changed the programme drastically. in munich the

3.3.5

utility and programme.

architecture was buried in the middle of the urban condition. in dornach, however, the architecture would be exposed all around. thus, the architecture was no longer able to consist of just interior. the necessity of artistic external design resulted in the slate roof on top of the couple of domes and the carved wooden exterior walls. at first in munich the windows were not in the consideration. then in dornach the architect installed windows on the walls in order to let the light in.

it was important “to work more economically with space in this second goetheanum.” the first building basically consisted of a single space, the auditorium. the auditorium couldprovide artistic surroundings for both lectures and performances in the same space. now in the second goetheanum steiner tried to create two levels separated. the lower one was the lower one comprising offices,

in the third lecturein 1914.6.28, steiner addressed the diagrammatic expression of self, ego as seen in 3.1.1. 3.3.2

transformation of the basic programme in the second goetheanum.

lecture rooms and a rehearsal stage. the upper one was the auditorium and main stage, which can also be used for lectures. practical necessities: functionalism in its true sense.

the design method for windows.

“artistic shaping of the exterior lines and surfaces had to evolve from this interior design.” steiner

the windows play important role in the design strategy of the goetheanum. to prove that, one of the most important surrounding architecture by the architect himself, the glashaus (house of glass), was intended to be an atelier for glass craft. for steiner, windows are something that “punch out” the wall . for steiner, windows are organs “through which the gods speak to (steiner, 1957).” steiner (1957) says that “the whole glass crafts here are the organs just for the words of the gods from all direction of the universe. “”the windows are elements that both interrupt and connect. as a part of the exterior wall, windows interrupt. as something that let sun in, windows connect inside and outside. the view from inside and from outside also connects the both. “ (hartmann, 1971:8) fig. 60 god’s larynx. stained glass in the first goetheanum. (agematsu, 1998)

“with transparent glasses, architects can directly connect and interrupt inside and outside in the mean time. the natural world soaks through glasses into interior, without transforming itself. “ with coloured glasses, on the other hand, architects can paint. the paint on the glasses are fundamentally different from ordinary paitnings as wall paintings.

admits the errors on the first goetheanum. see (agematsu, 1974:295), or see a quoted paragraph in the discussion chapter. in the quote, he regrets making some mistakes in the first goetheanum. the second version was the result of the reconstruction in the completely different style, but in the same principles as the previous. “the way the roof is shaped is a case in point - it will not be domed this time. those who respond sensitively to the architectural forms will sense our attempt at an artistic solution that follows the rise of the auditorium at the front, and at the rear follows the enclosing walls of the stage with its storage rooms. unbiased artistic appraisal may reveal how the underlying necessities in the design of the plan have been followed through in the whole architectural concept, including the daring execution of the western facade. “the building is to stand on a terrace, which will enable people to walk round the building at a level higher than ground level. wide, sweeping stairs will lead up from ground level to the entrances on the terrace. cloakrooms and other facilities will be located beneath the terrace. (beard, 2003:190)” 3.3.6

materiality: form figuration.

take gothic architects. they installed artistic works as stained glasses into exterior walls of magnificent huge buildings. through them, the persons appear in the new and old testaments, the saints, and the dedicators “talk to” the parish. in the goetheanum, the stained glasses are not for inviting natural world but for spiritual world to

dependency of form to material. we cannot separate material from form. in the conceptional phase of second goetheanum, steiner tells that the form of architecture shall be as primitive as it can be because he chooses concrete as

appear through colour and form.

material. when curve, carving, dome, geometrical programme, and polygonal-sectioned column are

coloured glass windows.

the vocabulary of chamber construction,rectangle, formwork, gable, perpendicular, and platonic solid

“i now want to indicate how our glass windows are to unite outside with inside. each window will be

are the vocabulary of concrete construction. complicated, meticulously detailed first goetheanum

of one colour, but there will be different colours at different places, expressing the way the interplay

has extremely different character from roughly styled second one (steiner, 1957).

between outside and inside must have a spiritual harmony. within each monochrome window there will be thicker and thinner parts – parts where the physical substance is thicker, more solid, and 152

3.3.7

the second goetheanum: materiality.

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chapter 4

materiality adoption in the first goetheanum: wood for a sense of identity . as we have seen in the design principle section (the interrelationships between the principles),

discussion

in this chapter we discuss the relationships between rudolf steiner’s architectural principles and design methods and the associated manufacturers.

organic forms in the old wooden goetheanum was the product of the principle of a new organic style of architecture. “thus there was in the old goetheanum a vestibule which visitors entered

4.1

3 organized matrixes.

before going into the main auditorium. the forms carved in the wood indicated quite clearly that it was a space to receive people coming in from outside.” for steiner, materiality and the programme

first of all, from the results we extracted in chapter 4, the works (see chapter 2) and the principles

structure also was bonded, and worthy of noting, had no clear separation. material adoption of wood

and the methods form matrixes. in the matrixes, the works and the manufacturers (rows) correspond

was a consequent conclusion.

to their each principles and methods (columns). from the literature and the photos the authors took,

steiner continues. “another factor that determined the way the wood was shaped was the need

the visual expression of matrix are compared in 4.4.1.

for everything to fit organically with the building as a whole. from this, in turn, arose the exterior

some of the cells are not filled because the works or the manufacturers do not seem to fulfil the

design, which revealed artistically how the building was both formed and articulated to meet the

conditions. some of the principles are not even in the matrix for the manufacturers. this is because

requirements of the anthroposophical work taking place in it.” here he explains one of the reasons

those are exclusively applicable to architectural works (eg. the house of speech.) some does not

for adopting wood.

seem to be appropriate to be applied, but nevertheless we put as many examples as possible for the

materiality contextualism in the second goetheanum.

sake of showing that they try to achieve the principles or the methods. the icons above the principles/methods correspond to those for chapter 4.

the main change he made in the second round was the form language he used in the building. steiner explains the radical change of materiality is a response to the limestone hills of the jura mountains rising above the site to the east. the first goetheanum did not build sufficient relationship with its context, which are environment and surrounding landscape. the first goethenum was first intended as johannesbau project. as we have seen in the section for johannesbau, it was intended to be buried in the middle of a city block in munich.(beard, 2003:262) thus, cutting and pasting of the building created a kind of gap between the land. feeling slightly bit being out of place in the first

4.2

discussion on steiner architecture.

in this section we discuss the following topics related to architectural works by steiner. first we connect the principles with the perspective of conflict of ahrimanic and luciferic elements and its balance.

one, the second goetheanum achieves down-to-earth principle.

4.2.1

materiality in the second goetheanum - the convex character of the new concrete building.

while other ‘organic’ arhitects suh as hugo häring insist that the forms in the nature never consist

continuing from the explanation of adoption of wood for the first goetheanum as noted earlier,

of straight lines and thus geometry is an opposite to organic architecture (agematsu, 1974). häring

steiner remarks that “the architectural conception now has to be handled quite differently since it is a question of using concrete rather than wood.)” the switch postponed the completion of the design for almost a year. after the long wordless conceptual phase, steiner started sculpting a clay model for the new version in march 24th 1924, a year and six days before his death. “with wood, the

a synthesis of principles: middle way.

even criticizes le corbusier for “constraining geometry too much.” apart from the fact that the term ‘le corbusier’ here means pure ‘functionalism’ not ‘ronchamp,’ häring seems to focus only on the dead form of the nature. organism is never merely curvature. organism is never merely an opposite method of geometry. häring seems to have forgotten the fact that organism moves.

shape of the space is carved into the material.” this represents the sponge cakes principle, which explains how internal ornamentation works. a form arises from a concave hollowing of the surface. with concrete, on the other hand, “the form is convex, a bulging-out of the surface defining the boundary of the space required. (beard, 2003:189)” 3.4

analysis of the design of associated manufacturers.

in this section, we analyse the relationships between rudolf steiner’s own design method and that of the associated organisations today. since we could not find any bibliography referring the steinerrelated organisations except agematsu (1998), the following analyse relies heavily on my personal experience of waldorf education and daily conversations and interviews with the author’s mother and the author’s grandmother. the author experienced waldorf education as a student when the author was five in lexington waldorf school in boston, and when the author was three and was seven in waldorf school of the peninsula. first we put together design principles and methods with corresponding visual diagrams. in the following data sheet, the analysis objects are classified with those diagrams above.

fig. 62 video by nibo at raster noton tour in daikanyama unit (2010.11.5). photo taken by the author

take raster noton, one of the most influential labels in electronic noise music. as seen in the figure above, their main interests are on wire frame–which can be directly related to the beauty of 3d wire frame imported from architecture or industrial plans, drawings, diagrams, and 3d models, often through cad. at the same time, their music and art is strongly influenced by post-modernistic thoughts, including deleuze et al. (1980).

the following diagram also represents the conflict directly, showing that divinity in architecture would not exist without both of them. fig. 63 diagram for load (weight) and support principle (beard, 2003:24).

in the book experiencing color between darkness and light, schroff presents a similar analogy for colour. fig. 64 color between darkness and light(schroff, 1985)

one cannot perceive colour in complete lightness or in complete darkeness. colour only exists between them. it is easier to have those extreme poles than to balance the light to have colours.

fig. 65 forms surrounded by stronger exterior(hartmann, 1996)

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fig. 66 forms surrounded by weaker exterior(hartmann, 1996)

Rudolf Steiner

To make everything computable

Rudolf Stiner

The world that can be heard

To let thoughts and will spread without any restrictions

and seen Human as Opposed to Nature

Human as a Part of Nature

Nakai, Hisao

Differentiating Circuit of Mind

Integrating Circuit of Mind

Rudolf Steiner

Allocentric

Self-centred

* elements with [ ] are the additional complements by the authors. note that this perspective is oriented from the author, and thus neither nakai nor deleuze have made mentions on ahriman nor lucifer. fig. 67 red stained glass in the west wing of the first goetheanum (hartmann, 1996)

“the radiating straight sunlight means the spacial force. the concentrically spreading curve weak

4.2.2

discussion on the architectural material adoption.

light from right represents the timelike force.” (hartmann, 1996). left would be ahrimanic, right would material becomes material when it dies. resource and material are clearly separated in the process of

be luciferic. hartmann’s (1996) analogy goes on.

design. take food for example. organism achieves the possiblity to become food when it dies. same thing can be said on the materials that used in architectural construction. we achieve the expected material with cutting/chopping/dissecting the resource. achieving the constructive materials include the process of destruction.

contextualism of steiner architecture fig. 68 a straight rod of emperor (left) as a representation of authority and a curved rod of bishop as that of guiding. (hartmann, 1996)

we see the contextualism of steiner in the answer we have mentioned before that if he could, he would have liked to cover the entire johannesbau exterior with soil and let the grasses grow. without citing famous architects mentioning about covering the architecture with greenery or making the architecture look like a mountain, we know that this concept is well known and popular today. fig. 70 kuma kengo competition proposal for icc.(kuma, 2009:75)

4.2.3

discussion on the emphasis on the process of productions.

one of the most important characters of the strategy of steiner is that he stresses the importance of production process. steiner listened to his colleagues at times. even though he wanted concrete as the material for the first goetheanum, as someone insisted on using wood, he changed his way. and in the mean time he has the ability not to be manipulated by the reputation. “this (heizhaus) building is especially being criticized hard (agematsu, 1974).” steiner said. and yet he would insist his justice. he sometimes regret adopting the ideas of the others (as previously explained). he sometimes regret not adopting the ideas of the others (“it would have been better if we had woodcarved from the beginning (steiner, 1957).” ). making mistakes in the middle of design was even in his consideration of the design strategy.

discussion on the processes of metamorphosis. although this is not directly related to steiner’s design process, it is possible to categolise this transformation also as a part of the process of metamorphosis of the second goetheanum. relating to the transformation of seven columns, it might be considered to be shame, because presumably steiner did not want other “columns,” or in other words, the supporting vertical elements than the existing seven. we, however, think that steiner would not oppose to renovate just because he wanted seven. rather, we would like to point out the corruption of the interior facade. the organisation fig. 69 ancient egyptian pharao w/both straight and curve on his hands (hartmann, 1996)

the most familiar example would be, we think, the symbols “!” and “?”. ! represents ahrimanic, scalar value of intention. ? represents unmeasurable human feeling.

between the two extreme poles, and...and...and... principle (deleuze and guattari, 1980) has the potential to be the balance. see 2.10 rhizome. the following table shows the relationships of ahrimanic and luciferic elements in conflict. to balance them, architecture, or christ, acts beyond those principles as we have seen in 3.1.3.

somehow considered the plain, primitive interior elevation not appropriate for the goetheanum. fig. 71 an interior perspective w/plain walls. (agematsu, 1974)

instead, they preferred and installed organic, decorative facade just as the ones appeared in the first goetheanum. fig. 73 reproduced forms without stained glasses (agematsu, 1998)

although agematsu (1974) considers that steiner designed only the exterior of the second building fig. 72 construction process of organic shape in the renovation (agematsu ,1998)

because he had already designed interior perfectly in the previous version, we think that the persistence character of the second goetheanum to always be primitive must not be abolished. designing the interior of the second goetheanum must not be mere cut & paste from the previous. designing the interior must be contextually continuous in terms of design method. in the second version steiner never was based on the principle of the decorative, introspective design methods. while ferger et al. (1991) consider that the second goetheanum has been taken changes for worse, we think that the renovation of the facade in 1996 must be at least reconsidered whether it was appropriate.

this kind of “middle way” principles are fairly common all over the world. just to evoke a feeling of an analogical model, here we present the typical examples:conflict of ahrimanic and luciferic elements and its balance.

fig. 74 coloured new columns through stained glasses. (agematsu, 1998)

fig. 75 major renovation plan for the hall. (agematsu, 1998)

here, quoting steiner’s statement in 1924 once again makes the discussion clearer. “time is reality. [...]

Extreme Pole(+)

Balance(0)

Extreme Pole(-)

if we declared the same thing in the same way we have already done in 1919 once more, we would

Ahrimanic

Christian

Luciferic

have fallen back for a century. [...] likewise it is impossible to architect the same way today in 1924

Rudolf Steiner

Descending Power

Rising Power

as we have in 1913 to 1914.(agematsu, 1974:294)”

Rudolf Steiner

Load

Balance Between them (Architecture) Divine

Rudolf Steiner, YinYang

Pointy, Edgy, Hard, Solid, Governing, Masculine, Sun, Positive Extreme of Self-mortification Industry, Technology

Buddha Bauhaus

Support Soft, Curved, Fluid, Yielding, Feminine, Moon, Negative

Middle Way Architecture, Sculpture, and Drama [Design?] Architecture

Extreme of Sensual Indulgence Art

Technology, Mechanic Exterior Materialism - Socialism Rationalism Geometry of Movement [Paranoia?]

Obsessive-compulsive

Schizophrenia

Nakai, Hisao

Agricultural People

Hunting People

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steiner is not to imitate steiner, but to evolve steiner’s design continuously. discussion on the visualization activities. steiner was a man of visualization. as we have borrowed in this article, he often drew diagrams to explain his deep thoughts as we have introduce many through the thesis. in a sense, his blackboard

Rudolf Steiner Rudolf Steiner Rudolf Steiner, Marx Rudolf Steiner Rudolf Steiner Deleuze, G; Guattari, F. Asada, Akira. Nakai, Hisao Nakai, Hisao

Nakai, Hisao

design must not even stay, let alone falling back. therefore, we propose a hypothesis here: to follow

Art Interior Mentalism/Idealism Aesthesis Organic Curve [Schizophrenia?] [S-affinity Circuit?]

drawing is regarded as one of the most artistic series of diagram. without telling through language or literature, he preferred using materials, form, colour, diagrams, pictures, movement, context, sculptures, and so on to express. in short, through the arts he wanted to tell his principle. and so, in the thesis we intend to use visual expression as clear as possible, as many as possible. steiner’s followers also try to express and expand the world of steiner through all means. rsarchive.org is one example, which contains steiner’s literatures, both raw and translated. 4.3

discussion on ci.

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discussion on an aspect of collective intelligence (ci) or participatory design. one might feel that such cutting-edge fashionable term would not be appropriate to explain steiner design. we, however, emphasise the incredible spirit of innovation steiner has conquered. ci or participatory design method are not the exception. unlike typical architects, especially the ones that

one possible answer to this comes out of the background of camphill botton village. as shown in 3.4, camphill villages are the communities that are entirely based on anthroposophy. if the villagers live in anthroposophy, the villagers are already as anthroposophist as they can be. however, this is still a matter of speculation.

have very peculiar characters and careers, steiner worked with his colleagues and supporters.

4.4.2

why has it not researched yet?

therefore, in this section we speculate further.

a way to answer this question is the relationships between steiner and corporations. steiner was never happy with capitalism. steiner was never happy with earning money with designs. therefore, steiner would never be happy to be researched as a subject of corporate identity. nevertheless, steiner also insists that we must adjust ourselves to the current situation. and from there, we shall seek the way to live in an artistic life. would there be an art(luciferic) inside industry(ahrimanic)? would there be an art(luciferic) inside corporation(ahrimanic)? we do not know, but we do feel that the products based(anthroposophic) on steiner’s principles and methods are beautiful. trial and error design strategy.

from shared principles via shared designs toward shared identity.

steiner does not seem to have consciously intended his works to be the design sources. still we can feel the same (more accurately, almost the same) feeling from his works and the followers’ works. this is of course not a coincidence. designing identity is one of the most cutting-edge, important, profitable, and yet not accomplished field of design. corporations all over the world have been trying to satisfy the need with corporate identity. as we have seen in chapter 2, corporate identity are sometimes even taken as a part of styling (designing only the visual side, façade design, appearance design). however, ideal corporate identity establishes clear, unique, yet flexible identity of the corporation, which have not been achieved by many company around the world. from that fact we insist that the current methodology

steiner also admits the errors on the first goetheanum. in 1921, when one year and a half before the arson, steiner spoke “one can criticise the building utterly. things that created first, however, cannot avoid the destiny to be incomplete. i myself acknowledge the defects of the building well. thus, if i should have designed the building once again, even if it would follow the same principles, it must have been completely different from the tiniest details to the whole building. but, once something new must start to happen, we must make our best effort to create the best at that time. (agematsu, 1974:295)” this represents his orientation toward architecture so explicitly.

they adopt is not the answer for that: on the contrary, we insist that the answer is right here in the thesis: the way steiner created anthroposophy and his works. although steiner himself was a great architect, a great painter, a great educator, a great occultist, and a great philosopher. the “great” here means that he had great talents and had great influence in each fields, but at the same time not the best far and wide. what he has done the best and only is, in our opinion, synthesizing the crosscutting designs. and so we state that anthroposophic design goes through starting from shared principles via shared design methods to shared identity.

1. a product of design would not be successful on the first attempt. 2. a product of design must be improved when reproduced. 3. a product of design must be put the best effort one can make in the given situation. we can also extract the ideal position of designer. 1. one must admit their fault.

4.4.3

autonomic evolving designs: flowform.

in this section we discuss the spacial equipment called ‘water form.’ the main logic here is that the design that has already left the hands of steiner is now walking by its own.

2. one must hear the criticism. 3. one must improve the design.

fig. 78 flowform in järna designed by the inventor john wilkes. (agematsu, 1998)

4. one must not stay in a position whilst everything moves forward. unfortunately, the counterfactual thinking of the necessity of redesigning the building became reality in a year. and as he preannounced, he created the second goetheanum following the same

originated from järna, the centre of the anthroposophical movement in northern europe, flowform has been the iconic spacial device for anthroposophical architectures. many flowforms are installed to the ground of schools, community centres, and even in a piazza (agematsu, 1998).

principles creating perfectly new form architecture. steiner was not a specialized architect. being not specialized does not mean that he was an amateur but means that he was so generalized and so energetic for all those vast activities. the characteristic approach to architecture also infected the way he designs. as he was not an architect everyday in his 64 years of life, his interest exceeded the boundary of ordinary architects. he thought of things architects have never thought. he boldly expressed his ideas even though it was too advanced and was not ready to be accepted.

fig. 79 drawing for the flowform in järna (agematsu, 1998)

fig. 80 flow forms in freie waldorfschule am bodensee. http://www.waldorf-am-see.org/galerien/au_engel_nde/flowforms_jpg.jpeg.html

what is interesting here is that flowform was not invented by steiner but by one of the followers. anthroposophical designs are not about imitating rudolf steiner himself but about following rudolf steiner’s design principles and methods. and along the principles, one must evolve the principles and methods as the time passes. ironically, according to a steiner’s principle, steiner’s principles shall not stay exactly the same as it was in 1925. flowform is one of the example how to evolve from the urpflanze steiner – and have their own branches and leaves. if we classify the designs we have analysed in chapter 3 as beautiful leaves and petals, flowform can be classified as a beautiful seed from steiner that could create another, different identity.

even the grave of rudolf steiner follows the principles and methods we extract: chamfering, steiner font, bilaterally symmetry, direct use of material, geometric form. 4.4

discussion on the influence of rudolf steiner’s principles and design methods: a

synthesis of the designs. in this section we extract a representative example that explain the clear relationships between the ancestor (rudolf steiner and his designs) and the descendant. in accordance with the principles and the methods, it is possible to compare any elements each other. but the purpose of the matrix is not to compare everything but to create a kind of “section” of the synthesis of the designs. the preliminary concept of the thesis is to establish a relationships between steiner architecture and those toys. it is truly a wonderful surprise to find the exactly the same feeling from the same finish on toys and architectures. 4.4.1

comparison between architectural works and toys.

as we have noticed, here in this section we compare the actual examples of the flows. fig. 76 a candleholder manufactured by camphill botton village and a candle by stockmar.

see how perfectly designers and manufacturing labours learn and adopt the design method. it is not the woodcarving itself that creates the identity. the whole body of a mere candleholder truly speeches to us – through the form. not only having successfully adopted the design method, they were even able to fulfil the principle of the house of speech.

fig. 77 entire form.

how is that even possible? it makes even less sense that they have something as weekly lecture course for every villagers to learn how steiner found his goetheanum. and even if so, acquiring the concurrent identity cannot be such an easy way.

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chapter 5 fig. 81 form drawing for the movement of engulfment and spread w/spiral (kranich et al., 1994)

project and conclusion

bibliography

taking the results we have gone through chapter 4 into consideration, we now are able to even

werner, frank. covering + exposing: the architecture of coop himmelb(l)au. robinson, michael, trans., basel; berlin; boston, birkhäuser, 2000, 206p.

go further to design an architecture that follows the principles and design methods we have

コープヒンメルブラウの作品集．

extracted(as a matter of fact, i have put my proposal in 4.2). and so, here we propose a waldorf

shimizu, misato; hosoya, makoto; kono, tomoko:kanako, endo, ed., 2009, bauhaus: experience, dessau. tokyo, the sankei shimbun, 765p.

school.

東京藝術大学美術館におけるバウハウス展のカタログ．膨大な量の写真と説明．シュタイナー fig. 82 a preliminary sketches.

についての直接の記述はない．

fig. 83 perspective view from east.

fig. 84 diagrammatic plan shows its colour planning.

references

*the references without any english explanation are shown in japanese or german to keep precision of the title. the references with japanese titles also contain japanese titles just to make it convenient to access, because we cannot find them in english. agematsu, yuji. 1974, architecture as the perspectiv e of the world. 3rd ed., sagami – ルドルフ・シュタイナー論 shobo, 335p. 世界観としての建築慶應義塾所属の図書館で唯一の日本語で書かれた建築家・シュタイナー論。理工学的というよりも芸術作品としての建築を扱っているためか三田から取り寄せる必要がある . シュタイナー建築の基礎となった人智学、建築、そして建築から発展していく芸術の三部にわかれている .1974 年と書かれた時期が古いため最近の改修工事などについての動向については触れられていない .

fig. 85 perspective rendering from west.

agematsu, yuji. 1998.3.25, steiner architektur: und der bau wird mensch. tokyo, chikuma shobo, 319p. japanese title: そして建築が人になる詳しい解説付きの写真集 . シュタイナー学校や影響を受けた銀行、鉄道まで取り扱う .『世界観としての建築』を補完するような内容も含む . 湘南藤沢キャンパス図書館から取り寄せ .

conclusion

agematsu, yuji. 1985.8, rudolf steiner. tokyo, parco. 建築だけでなくむしろ彫刻や素描などに詳しい写真集 . in this thesis we reviewed rudolf steiner, analysed his design principles and methods, then analysed the manufacturers following steiner along those, and then made matrixes to show the relationships. the result data sheets clarified the strong inheritance of both data principles and methods. but the relationships and the flows were still not explained well enough. and so we have introduced ci (corporate identity) to discuss further, even though we knew that the conventional idea of ci today is far, far away from steiner’s philosophy. still, being encouraged by steiner’s idea “always adapting to the (industrialized) real world,” we took the risk to endanger the artistic anthroposophy to the means of profitable management strategy. my research question was implicitly dominated the thesis: ‘how the manufacturers associated with steiner achieve a synthesis of design?‘ and now, taking the results and discussions we made into consideration, we can conclude as follows. with the design principles and methods by rudolf steiner, the manufacturers have accomplished concurrent identity that bonds them stronger than ci, more flexible than ci, softer than ci, and more sustainable than ci. acknowledgements i would like to express my gratitude to my mother. she would tell me how great her college’s library was. “i only needed to read through one side of the bookshelf to the other.” what happened to me was fairly close to this experience. i only needed to read through one side of the bookshelf under her desk to the other. she was, eventually, a kind of specialist of waldorf education. the thesis revealed that my interest was still occupied by the toys i would love in my younger days. i thank my father for giving me the opportunity to experience waldorf education. i must admit that my thoughts are rooted to his thoughts, and thus most part of my academic background consists of being his son. i thank professor darko radovic for helping and guiding really strong through all the process of the thesis. i thank ph. d. candidate milica muminovic for giving me useful advices how to focus. thank you b3 students, hoshikawa and katoh for helping my diploma project (see pictures below) and encouraging me hesitating to do the project.

baravalle, hermann von. 1991, geometric drawing and the waldorf school plan. rudolf steiner college publications, 54p. シュタイナー教育における幾何学の本．school plan は平面図ではない． berger, thomas. 1992, the harvest craft book. lawson, polly. trans., edinburgh, floris books, 80p. 季節（特に収穫の時期である秋？）を感じさせる植物を使った，室内装飾の作り方やバリエーションについての本．floris books のロゴもまたシュタイナーフォントが用いられている．

carlgren, frans; grosse, rudolf; weissert, erns; klingborg, arne. 1982, erziehung zur freiheit: dd. pädagogik rudolf steiners; bilder u. berichte aus d. internat. waldorfschulbewegung. takahashi, iwao, takahashi, hiroko trans., stuttgart, verlag freies geistesleben, 210p. japanese title: 自由への教育〔日本語版〕ルドルフ・シュタイナーの教育思想と国際ヴァルドルフ学校運動の教育実践 . シュタイナー教育に関して網羅的に紹介する本．大量のエポックノートのコピー，水彩画や授業風景などが載っており入門に最適．

deborah gans ed., 2003, the organic approach to architecture. west sussex, john wiley & sons inc., 190p. テクノロジーとしての有機的建築を取り扱う．湘南藤沢キャンパスから取り寄せ．

deleuze, gilles; guattari, felix. 1980. mille plateaux capitalisme et schizophrénie, paris, les editions de minuit. 未だに読み解かれていないといわれる哲学者と精神分析医のアイデア集．シュタイナーの哲学と結びつけるのは無理があるかもしれないが，ポスト - 二元論という意味で近い．google

books でリゾームの部分は英語で閲覧可能． dal co, francesco; forster, kurt w; arnold, hadley. 2003, frank o. gehry: the complete works. milano, electraarchitecture, 614p. hartmann, georg. goetheanum glasfenster. 1971, steiner kyouiku no ishizue, mori, shogo. trans., 63p. japanese title: ゲーテアヌムのステンドグラス . とても薄いポケットブックだが，他の本にはない分かりやすい説明や逸話が含まれている．著述にはあまりにシュタイナー原理的で非科学的に思える部分も多い．

igarashi, taro. pices architect, frank gehry: from the road, still rolling. http://tenplusonedb.inax.co.jp/backnumber/article/articleid/903/ 掲載『10 ＋ 1』no.15（交通空間としての都市──線／ストリート／フィルム･ノワール）pp.243-253 1998.12.10, (cited 2011.1.24) ゲーテアヌム近郊のヴィトラ家具ミュージアムでうけたゲーリーの影響について．

kobayashi, kiyotaka; tkahashi, atsushi. 2001.9,a study on the educational environmento [sic] and the educational philosophy in steiner’s [sic] school. 日本建築学会大会学術講演梗概集（関東）pp. 19-20 japanese title: r・シュタイナーの思想と建築から見た教育環境イェンス・ペータースの教室の形の指針スケッチをもとにウォルドルフ学校の建築について紹介．誤りが多い．他学校のプランに付いて言及しておらずむしろハイデンハイム校の研究．

kawakami, masanori.; itoh, masahiko.; senda, mitsuru.; yada, tsutomu. 1998.9 a study of steiner infant education space in japan -the relation between the educational ideas and space. 日本建築学会大会学術講演梗概集（九州），e-1 分冊，p.29, 日本におけるシュタイナーの幼児教育空間に関する研究 – 教育理念と空間の関係性について日本の幼稚園の建築に関して分類，典型的なデザイン手法をまとめている．

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kranich, ernst michael; jünemann, margrit; berthold-andrae, hildegard; bühler, ernst; schuberth, ernst. 1994, formenzeichnen: die entwicklung des formensinns in der erziehung. mori, shogo, trans., tokyo, chikuma shobo, 239p. japanese title: フォルメン線描 :

と言うほかない．

niederhauser et al. (1983) に比べてより専門的なフォルメン線描の仕組みについて．フォ

steiner, rudolf. 1957, wege zu einem neuen baustil. agematsu, yuji trans., stuttgart, freies geisteleben, sagamishobo, 272p. japanese title: 新しい建築様式への道 1914 年ごろのシュタイナーによる講義録．シュタイナーの建築理念のほぼ全てが含まれる．

ルメンから発展する幾何学についてや，建築との関連についても詳しく書かれている．

建築史の解釈などは難解．デザイン理念は喩え話を含み分かりやすい．

kugler, walter; bauer, simon. 2007, rudolf steiner in kunst und architektur. köln, dumont buchverlag, 419p. イナー自身による宝石細工の写真，スケッチという他の本では言及すらされていない分野を

steiner, rudolf; oberhuber, konrad; kugler, walter; pehnt, wolfgang. 1996.11.30, rudolf steiner blackboard drawings - when earth becomes moon. takahashi, iwao, trans., kugler, walter, ed., tokyo, chikuma shobo, 154p. japanese title: ルドルフ・シュタイナー遺された黒板絵 .

発見できた．白黒の印刷も精緻でコントラストが高く，装幀が美しい．

ワタリウム美術館で行われた黒板絵のカタログ．ひとつひとつにその講義でのシュタイナー

シュタイナー学校での実践と背景

三田図書館から取り寄せたがドイツ語による記述のため本文は引用できず．代わりにシュタ

の発言が載っており，雰囲気が伝わってくる．それだけでなく他の本には載っていない逸話

kuma, kengo. 2009.10.15, studies in organic. toto publisher, 348p.

を含んだ記事が多数収録されている．

隈氏による（戦略的）有機的建築をまとめた本．「最先端」の最もファッショナブルな有機的建築の姿．

beard, andrew; steiner, rudolf . 2003, architecture: an introductory reader. sophia books, hillside house, 274p.

le corbusier. 1957, oeuvre compléte : en 8 volumes / le corbusier. - basel ; boston ; berlin: birkhäuser lc の作品集．印刷が白黒．

上松翻訳による新しい建築様式への道の英訳や新聞記事などシュタイナーの発した様々な発

mishima, kenichi. 2010.1.12, walter benjamin; destruction, anthology, and recollection. tokyo, kodansha. 537p. japanese title: ベンヤミン：破壊・収集・記憶

steiner, rudolf. 1951, und der bau wird mensch. osmond d.s. trans., die ziele des johannes-bauvereins ed., http://wn.rsarchive.org/architecture/tmpman_index.html, (cited 2011-01-05). rudolf steiner archive という著作権切れのシュタイナーの著作を公開している電子図書館で

ヴァルター・ベンヤミンについての解説本．

motomura, y. 1997.12, a study on the organic architecture: r. steiner’s architecturetheory[sic] bulletin of hiroshima jogakuin university 47: pp. 167 - 181, japanese title: 有機的建築の研究 -r. シュタイナーの建築思想について -

言．分かりやすくしかも詳しい解説がついている．写真の解像度が少し低い．google books で一部閲覧可能．

得た「そして建築が人になる」．他にも大量の本が公開されている（ただしダイジェスト版）．

tanaka, yoh. design theory. 2000.6.8, tokyo, iwanami shobo, 149p. japanese title: 岩波講座現代工学の基礎デザイン論《技術連関系 vi》

nakai, hisao. 1982.2.15, schizophrenia and human. tokyo, tokyo university publishing, 252p.

デザイン工学について過不足なくまとめられた本．実例が多くわかりやすい

精神上の対立する二極端について説明している．初学者には分かりづらいが，アーリマン –

tsuchiya, fumiaki. 1994. 自由ヴァルドルフ学校の学校建築（１）：シュタイナーのゲーテ自然科学研究理解 . 小樽商科大学人文研究 , 87, pp. 231-253

ルーチフェルの対立とその中道としてのキリスト – 人間像を理解するのを助ける．

ゲーテ論を展開している．

niederhauser, hans rudolf; takahashi, iwao. 1983, form drawing. takahashi, iwao, trans., tokyo, sorinsha, 140p. isbn 1036-1015-4281 フォルメンだけに限らず，ウォルドルフ教育の説明にまで発展していく．膨大なウォルドルフ教育の一角を説明することで全体を感じることができる．

nishida, setsuko ed., 2004.10.28, おもちゃ箱の仲間たち vol. 5 omochabako co., ltd. 104p. おもちゃを販売するおもちゃ箱のカタログ．

pearson, david. 2001, new organic architecture : the breaking wave, berkeley, university of california press, 223p. 世界中の様々な有機的アプローチを紹介する写真集．そのうちのひとつである牛田フィンドレイの soft and hairy house を見に行ったがサルヴァドール・ダリのシュルレアリズムは感じられなかった．有機的建築の難しさを読み取れる．印刷の質が低い．

honda, megumi. shirakaba tosho ed., 2006.6.20,“steiner”in japan, from the fields. izarashobo, 222p. japanese title: 日本の『シュタイナー』その現場から : 教育・建築・農業・医療ほか日本における様々な実践の姿を紹介している本．

riley, terence; reed, peter, ed., 1995.4.30, frank lloyd wright/architect. tokyo, delphi research, 354p. fllw の提唱する有機的建築とシュタイナーとの差異を見るために読んだ． sasaki, nanako. 2007.9.16, ウォルドルフの手仕事：心を育む人形たち . tokyo, bunka shuppankyoku, 87p. ウォルドルフ人形の作り方の本．撮影が極めて美しい．

schroff, lois. 1985, a painter’s handbook: experiencing color between darkness and light. newlight books herndon, 62p. アメリカで入手した層技法の色使いについてのハンドブック．ゲーテの色彩論にも言及．

schuyt, mike; elffers, joost; ferger, peter. 1991.5.20, rudolf steiner und seine architektur. nakamura, shizuo, trans., 2nd ed., shubunsha,192p. original published in köln, du mont buchverlag, 1991. 前半がシュタイナーの建築論で，後半が写真集．第一ゲーテアヌムに重きを置いており，第二は他人が手を加えた「価値ある記念物」と捉えているのが興味深い．翻訳が酷すぎて一読では理解はほとんど不可能．

steiner, rudolf. 1984, reproduktionen aus dem malerischen werk von rudolf steiner. dornach, rudolf steiner verlag, 29p. steiner, rudolf. 2005.8.31, steiner’s beautiful life: from architecture to garment and language. nishikawa, takanori trans., futohsha, 205p. japanese title: シュタイナーの美しい生活 – 建築から服飾そして言語比較的新しい本なので翻訳が読みやすい．建築の姿勢，教育とアーリマン – ルーチフェルなど分かりやすい現実的なテーマを取り扱う．建築と衣服の関係など他の本にはない記述も多いため参考になる．後半のホメオパシーの記述に関しては，当時の最先端，現在の疑似科学 157

rhinoceros

osirix

vectorworks

cinema4d

keyshot

arduino

photoshop

illustrator

dreamweaver

indesign

live

3ds max

solid edge

xcode

visual studio

matlab

arcgis

processing

sketchbook

autocad

mathematica

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159

figures

001.

typography automata (pseudo), 2011.7

012

002.

section 1:100

017

003.

perspective drawing

018

004.

masterplan

019

005.

exploded structural diagram

022

006.

1f plan

024

007.

active mutation of design works 2011.12

033

008.

ruriko.jpn.ph top page 2011.09

042

009.

ruriko.jpn.ph literary works page 2011.09

043

010.

ruriko.jpn.ph lecture information page 2011.09

044

011.

curureversi drawings

052

012.

jam bins

056

013.

honey bins

056

014.

process of unpackaging

057

015.

a shopping bag and a box unboxed to show two bins of jam

059

016.

three groups joint meeting

060

017.

miracle branding project for Lupta consers pidigen

062

018.

final minor adjustment of the products layout

066

019.

voxel tesselation

071

020.

final presentation: 2010.07.17

073

021.

sliced strata

074

022.

exploded diagrammatic volume surfaces

074

023.

8f plan

075

024.

UBB mine site plan

078

025.

section perspective

081

026.

ground perspective

086

027.

perspective

087

028.

helsingin työpaja, 2011.11

091

029.

fish-scale lepidosis, 2011.11

094

030.

brutal fishing (1) , 2011.11

095

031.

brutal fishing (2) , 2011.11

097

033.

hi-dden hi-raganas in hi-ndi letters (with tamil), 2011.11

098

032.

board in white , 2011.11

098

034.

diagram: a chronological table

109

035.

quadtreeness (2011.12)

115

036.

barcoded, 2011.09

132

037.

弘法でない限り筆を選ぶ

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endnote

archiv* für produkt und nichtprodukt edited, published and printed by minoru matsui hindi + tamil handwriting: kaushik eshwar curureversi: group work with manami ashino, motohiro niitsuma, she guojing, yuya harada, jirumutu keio waldorf schule model: yoshi kato @cato_cato, shinnosuke hoshikawa @kesunonshi, yasukazu yoshitama @yoshitamayasuka, megumi shibazaki @megumyaimy, minegishi wataru typeface: akzidenz grotesk bq printed in chiba published via indesign cs4 edited by adobe® indesign, illustrator, mcneel® rhinoceros osx et al. for more information see software skills. published, edited, drawn on Mac OS X 10.5.8 - 10.6.8 © minoru matsui 2012 | all rights reserved. no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy or any storage and retrieval system, without permission in writing from the publisher. for further information and publications by the author, please visit: personal web site: http://mino.dip.jp thesis: http://issuu.com/minorumatsui/docs/steiner-and-manufacturers toshiba internship programme portfolio (v1): http://issuu.com/minorumatsui/docs/toshiba contact: frail.aenima@gmail.com haliod.xerrox.copy.airfrance@ezweb.ne.jp

supervisors keio era

[from left to right] Darko Radovic, Professor Jorge Almazan, Assistant Professor(Non-tenured)

chiba era

[from left to right] Makoto Watanabe, Professor Kenta Ono, Associate Professor Satoshi Hachima, Assistant Professor Yasuhiro Ohara, Assistant Professor Yusuke Ashizawa, Assistant Professor

161